Shuffle #10 | Art Catalogue for 4bid Gallery, Amsterdam NL

Shuffle Project #10

12-18 October, 2015 4bid Gallery | OT301 Amsterdam

Shuffle Catalogue #10 October 2015 4bid Gallery Developing Temporary Cultures www.4bidgallery.wordpress.com 4bidgallery@gmail.com

Departures

A r-evolutionary journey 7 days a white cube the city a bunch of artists shuffling, mixing themselves up and together a movement a walk a sound a thousand words for millions of thoughts your body and theirs your body through theirs an image a touch repeat

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HUFFLE PROJECT is a long-term project by 4bid Gallery providing artists with a ground to meet and collectively develop ideas ranging from visual arts to performance, from literature to music, film and photography, among others. It covers the time of one week every two months during which a group of artists share practices and critical creative thinking with-in the Gallery c/o the OT301, according to a pre-set calendar: a workshop a day run by each artist, a break in the middle devoted to the presentation of the catalogue of the project previous edition, a final open event for sharing the work of the week and enriching it thanks to the audience participation.

PLACES

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BID GALLERY is an artist-run space based in OT301 Amsterdam, since 2013.

Formerly founded by four artists and friends, the space – now run by two of them (Irina Baldini and Giacomo Cardoni) – seeks to facilitate culture and art practices through public series of experimental activities that range from visual to performative arts. Developing ‘temporary cultures’ through a gallery program based on open calls, the space experiments alternative ways of exhibiting and producing artworks, and tries to directly engage the audience in cultural production. It can count on the help of many collaborators who are directly involved in conceiving and producing the cultural agenda of the gallery that, as it strongly believes in the creative possibilities offered by collaboration, is open to welcome proposals and questions from the ‘outside’.

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T301 is an adventurous project started in 1999 when a group of artist came together and squatted an old film academy in Overtoom 301, in order to create a new platform where artist could live and work together on a public programming that offers a stage to ‘experimental’, ‘new’, ‘alternative’ art, music, film, dance, theatre, workshops and other sorts of performances and shows. Not a squat anymore, the multi-purpose space operates as a catalyst for engaged cultural practices in the form a not-for-profit collective consisting of 24 members sharing all together the responsibility to maintain and secure everything that happens in the building. Currently, the space is home to many different and yet coordinated projects.

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ONDELPARK

TREETS OF AMSTERDAM

TRAVELLERS

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RINA BALDINI [Irina Osterberg] (1988) is an Italian/Finnish dancer and maker. She trained in classical and contemporary dance at the Florence Dance Center (Italy), and Contact Improvisation, Release Work, Cunningham and Graham Techniques at the Laban Centre for Movement and Dance, London UK. She worked with different choreographers at international venues in London, New York and the Netherlands. Invited to Amsterdam in 2013, during the last two years she’s been working between Holland and UK, establishing her bridge of network between the two countries. She is co-founder and co-curator of 4bid Gallery, which she established in Amsterdam with other three artists in 2013.

Open to collaboration, she is currently working on several projects: she teaches at the OT301 Amsterdam, makes costumes for The Camera Club London, gives Cyanotype printing workshops in Amsterdam and Leipzig, and curates exhibition and visual art events related to 4bid Gallery Amsterdam.

www.irinaosterberg.com

www.giacomocardoni.altervista.com

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IACOMO CARDONI (1987) is an Italian visual performer and curator, currently based in Amsterdam, where he established 4bid Gallery together with other artists and friends, in 2013. He studied Sociology at the University of Urbino (Italy) and specialized in Art Therapy at Brera Academy of Fine Arts, Milan (Italy). A ‘contemporay filantropeutar’, as he defines himself, in his manifold artistic works he tries to ‘materialize’ the concept of Humanity and to look into it defending it from the abuses and delimitations the Modern world threatens it with. He uses the artistic research – performances, illustrations, installations and laboratories of Art Therapy – as an instrument for expanding out-and-out relational exchanges, triggered by the viewer’s sharing of creative acts.

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ARA CATTIN (1990) is a mixed-media, visual artist, currently living in Turin. She was born in the mountainous region Piemonte (Italy), then she emigrated to Amsterdam to study at the Gerrit Rietveld Academie (2009-2014, Audio Visual department). In Holland she developed a fascination for artificial landscapes and for all those places where nature and human activity clash creating cultural gaps. In 2013 she participated in the study exchange program at the Bezalel Art Academy of Jerusalem, where she spent most of her time in the Israeli and Palestinian deserts.

She’s a traveller, she moves relating her point of view to the size of mountains, she investigates orientation and she uses the materials she finds during her transfers. Her works become recyclable or portable. Currently she’s based at the Laboratorio Artistico Pietra, a self-managed co-working space, that she uses as studio and as a big collective brain-storming platform. Even if her work is individual, the process in the Lab is always collective. She considers being part of it a job in itself and she’s opening towards a more socially engaged practice.

www.saracattin.com

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ANIELA MEDINA POCH (1992) is a Colombian visual artist who currently lives and works in Amsterdam. Medina studied in between Bogotá, Arnhem and Barcelona where she graduated from Fine Art at Escola Massana / Universidad Autónoma de Barcelona. She has worked as an intern with artist Tania Bruguera, curator Alex Brahim and is currently working with Raúl Marroquín to develop a LowTechLab at Saatchi Gallery in London at the end of January 2016. Medina has exhibited in Colombia, Spain and the Netherlands.

Through her study, she has been constantly managing and organising cultural festivals, events and activities in Barcelona. She is interested in art and everyday dynamics that trigger certain actions and behaviours. Art as an interactive tool for the exploration of our symbolical and tangible environment. Using public space and everyday situations, her work seeks to demystify art and to use it as a catalyst tool that is able to generate alternative relationships with our environment while questioning the beliefs we have established as certainties.

www.danielamedinapoch.com

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ERAY MENA (1989) was born in Medina del Campo, Spain and is currently studying Fine Arts at Rieveld Academie, Amsterdam. He holds an MFA in Photography from EFTI, Madrid, Spain (2013). Over the past years, his work has become the result of a ridicule and critical analysis of the ever changing world surrounding us. Racking (stealing) as an artistic practice and being highly interested in the language technicalities of which information can transmit and affect its content, Geray’s work ranges from documentary photography to post-modern re-appropriation, painting, video and installation. Based on the idea that images are equivalent to words, he composes visual poetic artworks in which, mixing the semantics of already existing works, new concepts are unveiled and intertwined with the components of our contemporary visual culture. [by Olivia Lorrain]

www.geraymena.com

THE PASSENGER

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OBERTA COLAVECCHIO is an independent curator and cultural producer researching across the border of contemporary art and new technologies. Through her work she develops a critical perspective on contemporary technocultures, from a transdisciplinary stance negotiated at the intersection of new media theory, postcolonial and cultural studies. She completed a PhD in Postcolonial and Cultural Studies at the university of Naples “L’Orientale”, Italy (2015) with a research project addressing the ecological issue from the perspective of new media art.

She actively collaborates with international art spaces, research centers and cultural platforms across Italy, UK and The Netherlands in order to explore the blurred borders in-between eARTh, human, animals, and machines.

www.robertacolavecchio.wordpress.com www.residues.ghost.io

Shuffle Project #10 12-18 October, 2015

4bid Gallery | OT301 Amsterdam

INTRO The healthy system [...] may be compared to an acrobat on a high wire. To maintain the ongoing truth of his basic premise (“I am on the wire”), he must be free to move from one position of instability to another, i.e., certain variables such as the position of his arms and the rate of movement of his arms must have great flexibility, which he uses to maintain the stability of other more fundamental and general characteristics. If his arms are fixed or, paralyzed (isolated from communication), he must fall.

Gregory Bateson, Steps to an Ecology of Mind

Where do you come from?

The journey starts with a question and throughout all the workshops it revolves around the concepts of locating, orienting, territorializing, re-membering (embodying a memory), discovering, exchanging and valuing.

In such a cyclic movement of exchanges and contaminations, of recalls and resonances across spaces, places, people, feelings, thoughts, languages and matters, the journey becomes a dance of encounters, a choreography of bodies and material thoughts, a r-evolutionary ecology where the secret of balancing, of making a ‘healthy’ living, lies in the ability to move, rather than to stay still. So it is dwelling: a r-evolutionary movement of encounter. People, objects, places, thoughts, souls and faces in the process of becoming nature-culturally in place.

Day 1 [12 October 2015] Irina Baldini | Ghost Tense – Playing the Other

The first workshop is held by 4dib Gallery, in order to create a common ground for artists to exchange and engage in different art practices; to set a frame, a context, a territory, that is the temporal shape of a space: a refrain, the inscription of a singularity, a rhythm, a cyclic movement, the emergence of a periodicity.

When you look at it, it is not there. The Ghost can never be perceived directly. Language struggles to grasp it, projecting it into the past or the future. Yet the Ghost is always in the present. Subtle, immaterial, never complete. The Ghost can only be experienced though fragments. It is the ultimate inter-medium. Recreation, illustration, commentary has nothing to do with it. The Ghost’s natural habitat is lost in translation.

Ghost Tense | a work in progress, 2015

performance/installation by Eszter Horváth and Zsolt Sárközi with Irina Baldini, EYESFUL, Gábor Hartyáni

INSTRUCTIONS Artists are provided with a piece of paper and they are asked to think about the issue of belonging.

1st step: 2nd step:

3rd step:

Answer the question “where do you come from?”

Exchange the pieces of paper containing the first draft of the answer.

Then go deep in writing what others wrote, in order to expand the information received at first stance. Everything can be thought of as a bit of information. Play with the papers. Play (with )the others.

Focus and share. Is there anything new to you today? Anything that you would like to bring attention to?

Where do you come from?

Imagine a Ghost. Feel the Ghost with-in yourself. Like an external eye, somebody you have to deal with before taking position – a figure – an imaginary friend. Then, take a piece of paper.

Write down!

Where do you come from?

Work with a sense of observation: in this world you are not alone, you always have to take into account someone, something else. The shuffling movement, walk, or sound of a ghostly presence. Lost in time, in space, in translation. Subtle, immaterial, never complete.

The Ghost can only be experienced through fragments. Write down!

Where do you come from?

Three coordinates to figure it out: 1. Sensating | producing 2. Imagination | receiving 3. Texture | connecting Sensating refers to the performative value of sense: as the act of sensing, it means “being in response”.

Make sense! Sharpen your capacity to re-act, your response-ability! Produce a change!

Imagination, far from fantasy and close to figuration, deals more with receiving rather than producing images.

Make room for the other with-in yourself! Prepare your embodied mind for the shuffling movements of the ghost! It’s coming!

Texture: a touch, a taste, a composition, a pattern, a structure, a relation. In between senses and images lies the structure that keeps them together. A resilient assemblage: the arrangement of matter and meaning, the gesture combining the words with the things they designate. A theoretical practice. Connect!

…figures [are] where the biological and the literary or artistic come together with all the force of lived reality. ...[they] are at the same time creatures of imagined possibility and creatures of fierce and ordinary reality.

Donna Haraway, 1997

Day 2 [13 October 2015] Sara Cattin | Territories of the Self

Both rhythm and milieu are the slowing down, the provisional formalization of elements of chaos: a milieu, the congealing of a block of space-time, and a rhythm, the emergence of a periodicity, are not separable from the block of emergent territoriality. A territory is the delimitation of a milieu or sometimes even the compression and compaction of a number of different milieus. It is an external synthesis, a bricolage, of geographical elements, environmental characteristics, material features, shifted and reorganized fragments from a number of milieus (chaos itself is nothing but the milieu of all milieus), that create both an inside, an outside, a passage from the one to the other, and a space that is annexed, outside, contestatory, a resource: a cohesion inside, a domain outside, doorways from one to the other and energy reserves to enable them to reconfigure or orchestrate themselves.

Elizabeth Grosz, Chaos, Territory, Art I am a mixed-media, visual artist. In Holland I developed a fascination for artificial landscapes and for those spaces where nature and human activity clash creating cultural gaps.

Sara Cattin, talking of herself

Located at the intersection of earthly, human and technical forces, Sara’s work re-inscribes ‘nature’ within the borderland artificiality of art, intended as a plane of composition, a contaminated, collective space of encounter between both organic and inorganic life-forms, a machinic assemblage, a threshold to possible worlds, to new existential territories of the self.

As biologist Arjen Mulder says, we can “understand only those aspects of nature that we have been able to reproduce mechanically”. Then, on the boundaries of art, science and philosophy, machines can be virtual spaces of co-habitation, living assemblages of in-organic bodies collectively experiencing the surrounding naturecultural world.

a pencil your feet a picture of you a picture of me sheets of paper layers of pixels a photograph a landscape a bunch of words a memory take a stance take a selfie

Aesthetically, the contamination of organic and artificial life-forms and matters is expressed through montage, and by blurring the borders in-between drawing and photography. On the boundaries of technology (a camera, a pc, a scanner, a printer, pencils, books and sheets of paper) drawing is treated like a photograph: you can zoom it in, zoom it out, modify it, intervene in many potential ways, far beyond the possibilities offered by your hands.

Montage was the main gift of twentieth century art, valuing fragmentation and conflict over continuity and organic unity - ripping images out of their contexts and sticking them together to reveal new images, meanings and poetics from the interplay. But do networked images in their proliferation and multiple contexts undermine the assumptions of montage or reinforce them?

The question is not what the network does to pictures: what do pictures want from the network?

Graham Harwood, 2008

INSTRUCTIONS 1st step

2nd step 3rd step

4th step

Produce an image of yourself: take a selfie/make a video of yourself/take a picture of you from your social web profiles/draw yourself.

Go back to the pictures of natural landscapes scattered on the floor.

Use the computer, the scanner, pens and pencils to take a stance: put yourself into the landscape, merge yourself in it.

Regroup forces! Allow a territory to emerge, a periodicity to repeat! Arrange an exhibition: an orchestrated composition of territories of the self. Evoke a collective space of co-habitation for new unpredictable forms of life: our next nature, both here and yet to come!

Taking a picture of our feet is a statement. It’s taking a position: like saying “I’m here, I’m touching this ground.”

Sara Cattin I’m not talking about a picture of yourself, that you took yourself, by yourself, though that is technically the textbook definition of the word. I’m asking about your “selfie”: a virtual doppelgänger that looks like you, has been everywhere you have been, has smiled every time you smiled, and was created by you, but then flies off to have adventures without you. The selfie is an imprint of yourself, tossed into a virtual ocean, flying forward into the future to meet the stares of people you will never know.

Rachel Syme, 2015

Blurring the borders between human and nature, Daniela Media Poch takes a video of herself while eating an apple. She eats an apple to become an apple. “The self(ie) is outside: it’s you becoming the other, merging with-in it, in a cannibal act of becoming what you eat. It is a guilt to place yourself outside of nature. I feel guilty if I perceive myself as unnatural. I recognize nature everywhere.�

Daniela Medina Poch

Day 3 [14 October 2015] Geray Mena| Street Sculptures Desire is the movement of memory

Isaac Julien, 1996

He wrote me: I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember, we rewrite memory much as history is rewritten. How can we remember thirst?

Chris Marker, 1983 My work deals specifically with photography and doesn’t focus on a specific theme or way to address this art practice and to develop it: it’s very plural, ranging from documentary photography to personal diary, painting, video and sculptural installations. I am fascinated by the imperative of the image we are witnessing today, in contemporary visual culture.

Geray, talking about his work

For his workshop, Geray and his fellow assistant and friend Josh Payne ask the participant to bring three objects materializing a feeling they can’t have, grasp, bring, collect; an absence, a feeling they miss.

Then, he would ask them to tell a story, or even many, to wave a dynamic composition of images, a montage of memory, a re-membered story to pass on...

On the ‘embodied memory’ According to Paul Connerton, the body can be seen as a container or carrier of memory, of two different types of social practice; inscribing and incorporating. The former includes all activities which are helpful for storing and retrieving information: photographing, writing, taping, etc. The latter implies skilled performances which are sent by means of physical activity, like a spoken word or a handshake. These performances are accomplished by the individual in an unconscious manner, and one might suggest that this memory carried in gestures and habits, is more authentic than ‘indirect’ memory via inscribing.

The first conceptions of embodied memory, in which the past is ‘situated’ in the body of the individual, derive from late nineteenth century thoughts of evolutionists like Jean Baptiste Lamarck and Ernst Haeckel. Lamarck’s law of inheritance of acquired characteristics and Haeckel’s theory of ontogeny recapitulating phylogeny, suggested that the individual is a summation of the whole history that had preceded him or her.

Brooding at the end of the world on my island of Sal in the company of my prancing dogs I remember that month of January in Tokyo, or rather I remember the images I filmed of the month of January in Tokyo. They have substituted themselves for my memory. They are my memory. I wonder how people remember things who don’t film, don’t photograph, don’t tape. How has mankind managed to remember?

Chris Marker, 1983

INSTRUCTIONS 1st step Bring three objects connected to a feeling/memory and put it in the middle of the room.

2nd step Sit down in circle around the pile of objects and tell a story connected to each of

them. Visualise your memory, feel it, re-member it, collect it upon your body.

3rd step Divide in two teams and go in the streets. Take a walk in the neighbourhood to collect discarded

objects/stories.

4th step Once back in the gallery, make a sculpture out of the collected materials.

5th step Discuss the two sculptures.

In the Shadow of Love (by Giacomo Cardoni, Daniela Medina Poch, Roberta Colavecchio) Mickey Mouse and a little beheaded man: small beings connect to big icons, concepts, ideals, images, and figures through the precarious balance of lights. Shadowy is Love, for he who loses his head. And yet, shadow is the glue gathering all the pieces together: memory is the performance of precariousness, the trace that bears the burden of fragility, and endures through tensions. A little hero stands by a big tall eccentric cardboard pipe. His neck shadowly connected to the head, on the ground. A toilet, a bottle, the skeleton of a lamp...everything gathered by the dark side of light. Mickey Mouse is on the spotlight, but a network of shadows ends up into a chestnut. A new season will come, a r-EVOLution, eternal return of the nascent estate.

Free Fish (by Irina Baldini, Sara Cattin, Josh Payne) A mannequin, a puppet, a mask, the image of an animal shape stays on an upturned armchair. Wrapped up in a woollen thread stretched on the random objects collected in the street, blindfolded, on its back. You can walk all around it, in an endless circle of recalls, backs and forths, reflections. The mirror placed in front of the mannequin face reflects four times, in four different positions, the visitor’s face: here is the audience spot. From such a stance you are given the initial ‘backness’ in return. Multiplied. Disseminated. Reversed. Re-cycled. A fish stays on the ground: in red woollen thread, just behind the puppet’s head.

Repeat. Feel the shuffling movement of memories.

hold on the Dutch sun is shining and we are in autumn your favourite season keep your rhythm and loose it if you need it work hard and find a lover prepare well for the winter it’s coming

Day 4 [15 October 2015] Shuffle #9 Catalogue Presentation

Each Thursday of the Shuffle Project week, the catalogue of the previous edition is presented.

4bid Gallery invites the audience and the new members of the shuffle team to take part to the presentation.

It is another moment to tell and share one of the processes of the gallery, which can be set up with the shape of a talk, a desk presentation, an installation in the gallery according to the documenter’s desires. For 4bid, it is another possibility to challenge and try the multiple different shapes that the gallery can take. It is a way to stay open and connected to the proposal coming from the ‘outside’.

Day 5 [16 October 2015] Daniela Medina Poch | Reciprocal Dérive Experience Citizenship can only be understood materially (as bodies in the world), texturally (through cultural texts and textures of inhabitation), and conceptually (as a multidimensional way of thinking being, living, and feeling).

Tolya-Kelly D. P., 2010 Inspired by Guy Debord psychogeographies, this activity has the aim to sensorially explore the neighbourhood around 4bid gallery, in order to establish an alternative relationship with the territory and question the role of the gallery in its context. It is an authentic experience of the urban landscape.

Daniela, talking about her workshop

In her ecological study of diasporic citizenship connected to the value of landscape and memory, Tolya-Kelly registers nowadays urgent concern of “thinking about [citizenship] ecologically…through geographies of landscape, nature and coordinates of everyday lived experience.” The fact of being a citizen is reframed in terms of performativity: in current times of digitalization, in the light of globalization, citizenship is understood as a process: the act of becoming a citizen, of becoming natureculturally in place. Daniela Medina Poch proposes a workshop that, by adopting a situationist perspective from which to experience the urban landscape, contributes to the ecological re-thinking of citizenship: a process that is at once material, textural and conceptual. In doing such an exploration of a situated practice of citizenship, she wonders about the way art and its spaces can be catalyst for a sustainable evolution of the organisms with-in their environments.

INSTRUCTIONS 1st step Prepare to the departure towards the neighborhood by means of a psycho-physical training: lean against the wall, then move

slowly towards the center of the room.

2nd step Follow your own rhythm: keep your time, move accordingly. Then, start accelerating gradually. Coordinate every part of your

body with one another, run the risk of crushing into somebody else’s body. Walk faster, then suddenly slow down.

3rd step End up on the other side of the room. Lean against the wall, again. Come to the center of the room, sit down in circle with the others.

4th step Think about 3 adjectives that describe your perception and experience of the neighborhood. You are now trained: the journey

can start. Receive from Daniela the incomplete list of exercises/missions you should accomplish while walking in the streets.

Choose a travel buddy, let him/her fill in the form for you so that you would experience the urban landscape through someone

else’s I/EYE. Have a nice trip!

5th step Come back to the gallery, update and share your renewed perceptions of the neighborhood, discuss about the way art and its

spaces can be catalyst for an ecological practice of citizenship.

Day 6 [17 October 2015] Preparation for the Open Show On the sixth day, artists meet up in order to prepare the open show that will close the Shuffle Project. The gallery opens its doors to the public, in order to share the work done during the week and to contaminate it by collecting insights from the audience.

Before starting the concept development of the show, the participants repeat the psycho-physical training Daniela introduced the day before: they walk across the room, following their own rhythms, and coordinating their minds and bodies. Once they are ready and connected to each others, they come up with the idea of an exhibition consisting of different stations: at each one of them, an artist would perform his/her own practice revolved around the themes and languages explored during the week, and in cooperation with the audience.

Project title: Time-Based Interactive Co-Creational 3Medium Session As a machinic assemblage, the open show will unfold in the shape and mood of a multiple body of works, concepts, media and art languages organized in three steps, all coordinated and connected to each other.

Geray Mena would recollect stuff from visitors’ pockets into a box or on a table. He would ask visitors to create sculpture out of them. Then he would take pictures of such pocket installations that visitors can receive back as a souvenir into their own e-mail boxes. Daniela Medina Poch would improvise a bodily experience of the gallery space together with each visitors, guiding them through a path across senses. Sara Cattin would produce ideas. Printing them on cut pieces of paper, she will have a brainstorming conversation with people, involved in a stunning flow of memories and perceptions.

Day 7 [18 October 2015] Open Show | Time-Based Interactive Co-Creational 3Medium Session Visitors enter the room and they find themselves face to face with Geray: he is seated at a table with a sheet of paper, where visitors would be asked to leave their email and the title of the sculpture they are going to produce. The visitor puts on the table everything s-he has in the pockets, and arranges a sculpture with it. Meanwhile, Geray takes pictures of it that s-he would then find as a souvenir in her/his e-mail box.

At this point, the visitor goes on in the path, and finds Daniela, waiting for him/her on a bench in a corner of the space. “Sense the white cube!”, that’s her invitation to the audience. Daniela takes the visitor by the hand and guides him/her through an interactive bodily experience of the gallery space, that somehow re-members, repeats, re-cycles her situationist experiment in the urban landscape and the idea of travelling/knowing through the balanced cooperation of mind and body, what can be referred to as an embodied memory.

After connecting to the gallery space, visitor is accompanied before Sara. She is seated on a panel placed on the ground. Like a magician, a medium, a sorcerer, she brainstorms the visitor with questions about the travel that led him/her there. Behind, Irina takes notes of the answers on an electronic pad that print and let them repeatedly fall down: little pieces of words scattered on the ground, like seeds for the flourishing of unpredictable languages. They are like a prophecy: both here and yet to come.

References Bateson, G., Steps to an Ecology of Mind, Chicago and London: The University of Chicago Press, 2000 [1972] Grosz, E., Chaos, Territory, Art. Deleuze and the Framing of the Earth, New York: Columbia University Press, 2008

Ghost Tense – A Work in Progress, performance/installation by Eszter Horváth and Zsolt Sárközi with Irina Baldini, EYESFUL, Gábor Hartyáni, 2015 Guattari, F., Les Trois Écologies, Paris: Éditions Galilée, 1989, Engl. trans., Ian Pindar, Paul Sutton, The Three Ecologies, London and New Brunswick: The Athlone Press, 2000 Haraway, D., Modest_Witness@Second_Millennium. FemaleMan©_ Meets_OncoMouse™: Feminism and Technoscience, New York: Routledge, 1997 Harwood, G., Aluminium. Beauty, Incorruptibility, Lightness and Abundance, the Metal of the Future, The Rest of Now Manifesta7, Bolzano Italy, 2008 http://download.yoha.co.uk/aluminium/aluminium.pdf Julien, I., Frantz Fanon: Black Skin, White Masks, Mark Nash for the Arts Council of England, 73’ (UK, 1996) Marker C., Sans Soleil, Argos Films, 100’ (France, 1983) Pohlflepp, S., Mulder, A., “Life’s Artefacts (in the Ten-Thousand-Years Garden)”, 2015, http://tuinvanmachines.hetnieuweinstituut.nl/en/life%E2%80%99s-artefacts-tenthousandyear-garden Syme, R., Selfie. The Revolutionary Potential of Your Own Face, in seven chapters, 2015 https://medium.com/matter/selfie-fe945dcba6b0#.22fk7s6ku Tolia-Kelly, D. P., Landscape, Race and Memory. Material Ecologies of Citizenship, Farnham, Surrey, UK: Ashgate, 2010 Wark, M., Molecular Red. Theory for the Anthropocene, London & New York: Verso, 2015

Credits Shuffle Catalogue #10 October 2015 Documenter Roberta Colavecchio www.robertacolavecchio.wordpress.com Editors Roberta Colavecchio Giacomo Cardoni 4bid Gallery Developing Temporary Cultures www.4bidgallery.wordpress.com 4bidgallery@gmail.com