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Sunday, 15 December 2013

Mouth of the Thames

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Steve Kurtz, Critical Art Ensemble, YoHa

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Southend on Sea SS0 7AB Workshop:

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27/09/2013 – 28/09/2013 7pm YoHa, Critical Art Ensemble and The Arts Catalyst are beginning some exploratory work around how the logics of the Thames Estuary gets built and what this might mean for those who iive there. The Thames estuary is a complex collection of objects, atmospheres and flows that cannot readily be reduced to scientific methods and models. The estuary is changing beyond the flows of creeks, the largest container port in the UK is quietly being built on the site of an old oil refinery at Coryton, Essex, dredging a channel 100km east out to sea. London needs a new airport, a new Thames barrier, wind farms. The estuary is changing beyond the flows of creeks, the largest container port in the UK is quietly being built on the site of an old oil refinery at Coryton, Essex, dredging a channel 100km east out to sea. London needs a new airport, a new Thames barrier, wind farms.

We are holding a workshop in the Coal Hole, Leigh-on-Sea, on the afternoon of Saturday 28 September 2013. As an appetiser we have invited Steve Kurtz from Critical Art Ensemble to talk about how they approach their work on Friday 27 September 2013 at 7pm at TAP - Temporary Arts Projects in Southend on Sea. Book free ticket by email info(at)t-a-p.org.uk Steve Kurtz is a founding member of Critical Art Ensemble, a collective of tactical media practitioners of various specializations including computer graphics and web design, film/video, photography, text art, book art, and performance. Formed in 1987, Critical Art Ensemble's focus has been on the exploration of the intersections between art, critical theory, technology, and political activism. The group has exhibited and performed at diverse venues internationally, ranging from the street, to the museum, to the internet. Museum exhibitions include the Whitney Museum and The New Museum in NYC; The Corcoran Museum in Washington D.C.; The ICA, London; The MCA, Chicago; Schirn Kunsthalle, Frankfurt; Musée d’Art Moderne de la Ville de Paris; and The London Museum of Natural History. The collective has written 6 books.

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▼ 2013 (420) ▼ December (35) Mouth of the Thames SEFT-1 / Los Ferronautas

Local artists Graham Harwood and Matsuko Yokokoji (YoHa English translation 'aftermath') have lived and worked together since 1994. YoHa's graphic vision, technical tinkering, has powered

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Ice Lab: New Architecture and Science in Antarctic...

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several celebrated collaborations establishing an international reputation for pioneering critical arts projects. Harwood and Yokokoji's co founded the artists group Mongrel (1996-2007)and established the MediaShed a free-media lab (2005-2008). In 2008 theyjoined Richard Wright to produce Tantalum Memorial shown in 9 countries and15 cities over 4 years. In 2010 YoHa produced Coal Fired Computers before embarking on a series of works about the lived logics of database machinery including Invisible Airs in 2011 and Endless War 2012. www.critical-art.net/ yoha.co.uk/cfc www.t-a-p.org.uk/events.html

Science in Antarctic...

Nuclear Culture HeHe, Fracking Futures Republic of the Moon - London Torsten Lauschmann, Ice Diamond and Whistler Download the Ice Lab e-Book Melanie Jackson, The Urpflanze (Part 2) Jon Adams, Konfirm Help With A Technical Evaluation Report

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SEFT-1 / Los Ferronautas Andrés Padilla Domene, Iván Puig Domene, Los Ferronautas Blackburn and NW England

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The spectacular SEFT-1 is a road and rail vehicle created by Mexican artists – and brothers – Iván Puig and Andrés Padilla Domene, known together as Los Ferronautas. The vehicle’s premiere UK expedition began in September with a month-long residency with Abandon Normal Devices (AND Festival)

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AND Festival opening - Thursday 3 October, 6.30pm, Ropewalks Square, Liverpool more The Future of Transport - talk by Los Ferronautas, Saturday 5 October, 4-5pm, AND Festival Hub, Liverpool more SEFT is an acronym for the Spanish Sonda de Exploración Ferroviaria Tripulada (Manned Railway Exploration Probe). Designed to hijack tracks and traverse natural landscapes, the vehicle functions as a research device searching for otherworldly pasts and infrastructural histories. Its early adventures include journeys along the abandoned railways of Mexico and Ecuador.

The vehicle’s premiere UK expedition will begin in September 2013 with a month-long residency. Its base will be a canalside atelier in Blackburn where Los Ferronautas will experiment with how to make the vehicle buoyant for future expeditions on canals and waterways. From Blackburn they will make a series of forays across the Northwest of England, presenting a programme of talks, film screenings and pop-up events as they wend their way to AND in Liverpool.

On its expeditions, SEFT-1 will survey the landscape and infrastructure along selected routes, documenting its encounters with interviews, photography, video, audio and text. This activity will be transmitted online, making it possible to monitor the status of the probe, trace its location and view details of what it discovers en route.

SEFT-1 is presented in partnership with Abandon Normal Devices Andrés was born in 1986 in Guadalajara, Mexico, and was educated there in Media Arts. He has exhibited his work in various festivals and exhibitions among which are: ISEA 2012 Main Exhibition (Albuquerque, New Mexico), The Dreams of a Nation, a year later, at The National Museum of Art MUNAL (Mexico City, 2011), 04 Transitio_MX (Mexico, 2011), What’s on your mind, Narratives of the counterfeit personae, World Bank Headquarters (Washington DC, 2011), Project Zocalo, Mexico City Museum (Mexico City, 2010) and EFRC, Centro de Arte Contemporáneo (Qutio, Ecuador, 2012). His video work as director and producer with Camper Media (http://www.campermedia.com) includes documentaries, fiction films and TV shows. In 2008 he was a Fellow of the State Fund for Culture and Arts of Jalisco with the project Ferroproyección. From 2007 he has developed along with Iván Puig the project SEFT-1.

Iván Puig Domene was born in 1977 in Zapopan, Jalisco, Mexico. He spent his first years between the streets of Guadalajara, the tropical jungle of Comala and the car junks of Tijuana, circumstances that where important for his later art production. He did studies in electronics in Guadalajara and Fine Arts in Guanajuato.

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Fine Arts in Guanajuato.

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The techniques that Puig uses are not what determines his work since he jumps from one to another. The line that connects it all is the critical perspective and the humour present in his observations of the social environment. Indignation has been an important trigger for the subjects he approaches, and one of his concerns is the time consuming collateral activity related to the professionalisation of art, such as writing biographies in third person. For 7 years he has been working on the project SEFT-1 with his brother Andrés Padilla Domene. His award winning work has been shown in Mexico and abroad. www.ivanpuig.net

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Ice Lab: New Architecture and Science in Antarctica Ice Lab will present some of the most innovative and progressive examples of contemporary architecture in Antarctica. The first exhibition of its kind, it will draw together projects that not only utilise cutting-edge technology and engineering, but have equally considered aesthetics, sustainability and human needs in their ground-breaking designs for research stations.

Initiated by the British Council and curated by The Arts Catalyst, Ice Lab will feature four international projects: Halley VI, UK (Hugh Brougton Architects) Princess Elizabeth, Belgium (International Polar Foundation), Bharati, India (bof architekten/IMS), Jang Bogo, South Korea (Space Group), and the Iceberg Living Station (MAP Architects) – a speculative design for a future research station to be entirely made from compacted snow.

The visually rich exhibition will also highlight the diverse science that takes place on the frozen continent – from collecting 4.5 billion year old meteorites that illuminate how the solar system was formed to drilling ice cores whose bubbles of ancient air reveal the earth’s climate history; from cutting edge astronomy peering into the world’s clearest skies to studying its Dry Valleys, the closest thing to ‘Mars on Earth’.

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Torsten Lauschmann has made two a new audio and light works, 'Whistler' and 'Ice Diamond', in response to a commission from The Arts Catalyst especially for the exhibition. The Glasgow-based artist will create this work in collaboration with ‘We Made That’, the exhibition’s designers.

Drawing on a number of archives and collections Ice Lab will include original drawings, models, photographs, films, ephemera and sources of inspiration for these highly specialised, sci-fi looking infrastructures – the closest thing to future space stations on the Moon and on Mars.

The featured projects are: British Antarctic Survey’s Halley VI The first fully relocatable polar research station in the world became fully operational in February 2013 and signals a new dawn for 21st Century polar research.

Opening 100 years after Captain Scott’s famed Antarctic expeditions, this new state of the art facility, designed by Hugh Broughton Architects and engineered by AECOM (UK) fulfils the UK’s ambition to remain at the forefront of scientific endeavour. Located 10,000 miles from the UK on a floating ice shelf, the new station is designed to be self-sufficient, able to withstand freezing winter temperatures of minus 55ºC, have minimal impact on Antarctica’s pristine environment, and be an aesthetically stimulating place to live and work.

Princess Elisabeth Antarctica Conceived, designed, constructed and operated by the International Polar Foundation (Belgium), Princess Elisabeth is Antarctica's first zero-emission station. Perched on a nunatuk, 200km from the coast, at an altitude of 1400m, the aerodynamic stainless steel structure can withstand strong Antarctic wind, and is layered so that no form of interior heating is needed. The station seamlessly integrates renewable wind and solar energy, water treatment facilities, passive building technologies and a smart grid for maximising energy efficiency.

Bharati Research Station India’s third Antarctic research station by bof Architekten / IMS (Germany) is a striking modernist structure made from 134 prefabricated shipping containers.

Wrapped in a special aluminium case its extensive glazing offers magnificent panoramic views whilst withstanding powerful winds, below 40 degree Celsius temperatures, blizzards and unfathomable loads.

Jang Bogo Korea is becoming a significant player in Antarctic research and Jang Bogo, by Space Group (South Korea), will be one of the largest year-round bases on the continent when it opens in 2014. The station’s aerodynamic triple-arm design will provide resistance to the elements and accommodate up to 60 personnel during the busy summer season.

Iceberg Living Station A speculative design by David Garcia / MAP Architects (Denmark) for a

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future research station made entirely from ice, Iceberg Living Station negates the need to transport foreign materials to Antarctica. The station will be holed out of a large iceberg, using caterpillar excavators that are traditionally used to clear snow. It will eventually melt, resolving the issue of removing it at the end of its life course.

Architecture and Design Scotland is presenting a varied events programme of film screenings, talks and workshops in architecture, design and science.

For bookings and further information please email .(JavaScript must be enabled to view this email address) Ice Lab Pecha Kucha 6pm 2 Oct 2013 Tickets £6/£3 An evening exploration of extreme architecture, science and sustainability featuring an entertaining mix of architects, filmmakers, climate change scientists and designers.

MOSI is presenting a series of Ice Lab related events during Manchester Science Festival. Details and booking information www.manchestersciencefestival.com Polar research stations: Meeting the challenge of isolated living Fri 25 Oct 2013 6.30pm, doors open 6pm Hugh Broughton, architect of a US observatory on the Greenland ice cap and two Antarctic Research Stations, discusses the design of his polar projects and examines the ways in which the technologies and design principles employed in Polar Regions can be used to ensure environmentally responsible and resilient development elsewhere on the planet for generations to come.

Book online Architecture in the extreme environments Fri 1 Nov 2013 6.30pm, doors open 6pm Architect David A Garcia travels from pole to pole, through a series of speculative and pragmatic projects, to discuss a new language and approach to architecture in extreme environments.

Book online Accompanying the exhibition there is a publication with essays written by Dr David Walton (British Antarctic Survey and author of the recent ‘Antarctica: Global Science from a Frozen Continent’) and Sam Jacob (co-founder of FAT architects, lecturer and writer). This is available in electronic book and print format.

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Commissioned and organised by the British Council and curated by The Arts Catalyst The Lighthouse A+DS - Architecture and Design Scotland MOSI - Museum of Science and Industry Torsten Lauschmann We Made That

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Nuclear Culture The nose of a UK Astute class nuclear submarine rolls through the streets of Barrow-InFurness. Image from BBC Technology.

A curatorial research project led by Ele Carpenter, in partnership with the Arts Catalyst and Goldsmiths College, University of London. Supported through an AHRC early career research fellowship.

Nuclear Culture is curatorial exploration of the conceptual and cultural challenges of dismantling nuclear submarines in the UK. The problem of dismantling is a current political issue and high-risk environmental challenge. From a military perspective the issue is viewed as a technical problem that can be resolved by engineering and technology.

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Inviting artists to consider the aesthetic, conceptual, ethical and cultural concerns of nuclear submarines in conjunction with experts in the field, the research will investigate complex issues of power, visibility, and political representation, as well as having a keen material and conceptual interest in the socio-political history, and conceptual nature of nuclear weapons. The project aims to bring together scientists, engineers and community activists with artists and ethicists to develop new opportunities for creative practice investigating nuclear culture. Whilst there is much research into nuclear technologies, there is little analysis of the cultural and conceptual questions of nuclear materials within the language of visual art.

The Nuclear Culture website is currently in progress. The site will publish ongoing research articles, interviews and information about the Nuclear Culture research project including events such as the Nuclear Symposium and Film Programme in April. http://nuclear.artscatalyst.org/ Both talks are open to the public and everyone is welcome.What nuclear culture in 21st Century?

Can artists broaden the language of nuclear discourse? How are artists engaging with nuclear questions and concepts? Should art play a role in communicating radioactive sites for the future?

How do we perceive risk? What kind of dialogue do we need to take place? What kind of legacy do we want to leave for the future? What kind of nuclear folklores will emerge?

Ele Carpenter is researching these questions to create a context for commissioning artists and curating exhibitions to reveal how nuclear knowledge and experience changes the way in which we see and understand the world. Internationally, artists are making work in direct response to nuclear weapons, power and waste. Their practices contribute to a conceptual enquiry into the characteristics of radioactive materials across time, including aesthetic, material and social-political concerns.

The term ‘Nuclear Culture’ can be used to identify the way in which nuclear concerns are explored in cultural forms, ie art, music, film. But it can also be used to think about the nuclear industry in terms of cultural behavior; this includes decision-making structures, and the way in which society accepts or resists nuclear energy, weapons, waste storage and the variability of perceived risk. Through cultural and aesthetic analysis we can use theoretical frameworks to understand and articulate our contemporary experience of the nuclear, and to develop new forms of nuclear critique.

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Nuclear Culture in Japan: An Introduction to the research residency with S-AIR. Field Note 1: Sapporo: Art and Nuclear Culture from the perspective of Sapporo.

Transforming the Water Cycle: Review of Niwa Yoshinori's artwork at the 500m Gallery.

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HeHe, Fracking Futures HeHe, Helen Evans, Heiko Hansen FACT Wood Street Liverpool, L1 4DQ UK 13/06/2013 – 15/09/2013 Weekdays and Sunday: 12 - 6pm, Saturday: 11am - 6pm free Fracking Futures - a new spectacular artwork and mini-disaster by the Paris-based artist duo Hehe, (Helen Evans and Heiko Hansen), who in collaboration with The Arts Catalyst, are turning FACT Liverpool’s main gallery into an industrial landscape in a playful and provocative commentary on crises of global economy, threats of environmental catastrophe and struggles of public institutions in times of austerity.

The Prix Ars Electronica award-winners warn the drilling could result in unquantifiable subterranean noise as tectonic plates shift, minor ground tremors are a possibility, and diluted chemicals used during the fracking process will be sprayed into the air as they mischievously turn FACT's Gallery 1 into a temporary, experimental drilling site for hydraulic fracturing on a micro scale.

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HeHe use a language based on light, sound and image, their practice explores the relationship between the individual and their architectural, social and urban environment, often creating playful miniature representations of vehicles or intervening directly with light projections and large-scale visual interruptions. They make a provocative commentary on crises of global economy, threats of environmental catastrophes and struggles of public institutions in times of austerity.

They hope this multi-sensory installation will highlight the importance and current relevance of the debates surrounding the fracking process, which are not only significant environmentally, but also economically. The installation will refrain from making judgements for or against fracking, rather offering a platform on which discussion can begin.

Fracking Futures not only illustrates the potential dangers and disruptions of the process, but also considers fracking as an alternative source of energy and subsequent potential for commerce and growth. Whether this last point is genuine or tongue-in-cheek is for the visitor to decide‌.

Part of FACT’s 10th anniversary exhibition Turning FACT Inside Out until 15 September at FACT, Liverpool.

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