Genetologic Research

Pierre Bismuth
Today is the Tomorrow of Yesterday-Relaps, 2008

In Today Is The Tomorrow of Yesterday celebrity magazine covers are treated as precious fragments from a long lost civilization.  The artist-archaeologist reconstructs, as it were, selected documents of pop culture as if they were shards of ancient pottery.  The completed collages, with their cracks and gaps and off-center placement, bear the traces of this mock restoration process.

Maarten Vanden Eynde
IKEA Vase, 2010

Ikea-Vase is an amphora-shaped vase made of reconstruction paste and incorporating the fragments of an Ikea mug. The work questions the ability of historical artefacts to truly impress on us what life in an inherently unknowable past would have been like –and in the process points out the fallacious impressions a future archaeologist might conceivably formulate on our present based on its surviving remnants. -Regina Papachlimitzou-

Ikea-Vase (an amphora-shaped vase made of reconstruction paste and incorporating the fragments of an Ikea mug) question the ability of historical artefacts to truly impress on us what life in an inherently unknowable past would have been like –and in the process point out out the fallacious impressions a future archaeologist might conceivably formulate on our present based on its surviving remnants. – See more at: http://www.aestheticamagazine.com/blog/a-fictional-institution-with-an-authoritative-voice-museum-show-part-ii-arnolfini-bristol/#sthash.z4U7k1PT.dpuf

Leonid Tsvetkov

Remnants of our digital discoveries are being dumped worldwide by the millions. After stripping off some valuable metal parts, the left overs are worthless. So called ‘Motherboards’, the main circuit board of a computer have a short life expectancy since new chips are developed with singularitarian speed*. When exposed to a variety of chemical liquids they become alive again. Never before I’ve seen so much beauty in discarded trash. Oil refineries and skyscrapers surround city grids which are overrun by unknown fungi and bacteria. The Russian artist Leonid Tsvetkov creates landscapes which could become ours in a not so distant future, or as he describes it himself: ‘My work focuses on reshaping cultural waste and exploration of social and physical processes. I am interested in the moments where the hard edge geometry of the city becomes organic or there random activity begins to take a highly organized form’.

(*) Technological singularity refers to the hypothetical future emergence of greater-than-human intelligence through technological means. Since the capabilities of such an intelligence would be difficult for an unaided human mind to comprehend, the occurrence of a technological singularity is seen as an intellectual event horizon, beyond which the future becomes difficult to understand or predict. Nevertheless, proponents of the singularity typically anticipate such an event to precede an “intelligence explosion”, wherein superintelligences design successive generations of increasingly powerful minds. The term was coined by science fiction writer Vernor Vinge, who argues that artificial intelligence, human biological enhancement or brain-computer interfaces could be possible causes of the singularity. The concept is popularized by futurists like Ray Kurzweil and it is expected by proponents to occur around 2045.

Paul Ramirez Jonas
Paper Moon (I Create as I Speak), 2007

Consisting of sheets of paper tiled to represent an image of the moon, upon closer inspection, the design is made up of text that reads, “I Create as I Speak.” A single sheet is removed from the wall and rests on a lectern, with a microphone and a portable amplifier, inviting the viewer to interact with the work. The text plays with words; “I Create as I Speak” translates to ABRACADABRA in the ancient Aramaic language.

Toril Johannessen (with Vilde Salhus Røed)
Large and partly spectacular solar eclipse (08.01.08), seen from a hill between our houses, 2008

Panamarenko
Hofkes, 1967

Three thick sheets of cardboard of about 1m2 are filled with a variety of inorganic trash and debris. From a prophetic kind of future vision Panamarenko nostalgically tries to restore and reconstruct the long lost city-gardens. These city-gardens functioned as urban alternative for life on the countryside and provided additional food for the unfortunate. By the steady increase of city residents (in 2008 a remarkable event took place: the majority of the world population lives now in a city) the necessity to have physical contact with the earth and live from the land is gone. People are used to this new, self-created landscape and recognize the urban environment as their natural habitat.

Maarten Vanden Eynde
Oil Peak, 2006

Oil Peak was produced during the third Enough Room for Space (ERforS) project in Tbilisi, Georgia where the most severe protests since the Rose revolution were taking place. In 2003 the new Georgian president Mikheil Saakashvili called back his fellow country men, who fled Georgia in the past decades, to come and help rebuild the once prosperous and wealthy country into a modern western democracy. ERforS decided to respond to this call as well and check out how a new democracy was being introduced or rather implanted and what the side-effects are of such an enormous political and sociological shift. Ten ‘oil eruptions’ were planted on several locations throughout the city. In front of the parliament it caused a surprising commotion as the protesting crowd appropriated the work as a ‘black rose’, symbolizing the failure of the Rose revolution.

Oil Peak, 2008

Peak oil is the point in time when the maximum rate of global petroleum extraction is reached, after which the rate of production enters terminal decline. The concept is based on the observed production rates of individual oil wells, and the combined production rate of a field of related oil wells. According to Mathew Simmons, author of Twilight in the Desert: The Coming Saudi Oil Shock and the World Economy, “…peaking is one of these fuzzy events that you only know clearly when you see it through a rear view mirror, and by then an alternate resolution is generally too late.” Currently there is no consensus on whether Peak oil occurred already, or is still to come.

Gordon Matta-Clark
Splitting, 1974

Gordon Matta-Clark (1943 – 1978) was an American artist best known for his site-specific artworks he made in the 1970s. He is famous for his “building cuts,” a series of works in abandoned buildings in which he variously removed sections of floors, ceilings, and walls. Over a period of about three months in 1974, he made two parallel vertical cuts straight through the middle of a nondescript two-story suburban house in Englewood, New Jersey, removing the material left between the cuts as well as some of the foundation blocks on which the house stood so that one half slightly tilted away from the other, creating a wedge-shaped aperture between them.

Doris Salcedo
Shibboleth, 2007

As the very first representative of a non-European tradition to be commissioned by the Tate Modern Unilever Series, Doris Salcedo has chosen an understated technique: that of inscribing into the ground of the Turbine Hall. The scar that begins like a thin, almost invisible line, at the main entrance gradually becomes a chasm in the earth at the far end of the former power station. This earthquake-like insertion evokes the brokenness and separateness of the post-colonial cultures of a non-white, non-European legacy. The installation is a metonymy for the term absence – an absence that negates the space of post-colonial peoples. The construction of a ‘negative space’, or emptied out space, corresponds to the trajectory of the history of post-colonialism. It is in Shibboleth (2007), where space is occupied silently and discreetly, not via a sense of domination or empowerment, that this trajectory can be traced.

An ‘imaginative landscape’ is at work in the heart of what Salcedo states is a monument to a European and modernist tradition of Western art; the Tate Modern. Shibboleth disrupts the Western view of landscape that creates a sense of things being in place and emphasises ‘a visual scape in which the observer stands back and distances himself or herself from the thing observed.’ In reversing the role of the viewer as not only witness but accomplice in an act of silence, Shibboleth proposes a different take on the role of Western art practice and traditions of art: here the earth opens up under the viewers’ feet, evoking an earthquake, an eruption of space, time and place. The view is negated by its downward spiralling motion, bringing to mind a story in Borges’ Labyrinths; negativity has become one with the ground, forcing a glance into an abyss that is disquieting in its silence.

– Abstract from a text by Stella Baraklianou, 2008

Maarten Vanden Eynde
Restauration du Lac de Montbel, 2003

Leo Fabrizio
Swiss Bunkers, 1999-2004

Switzerland is riddled with hidden and disguised military installations. What appeared to be a rock face in a lay-by beside the road were actually steel and concrete doors painted like rock. A five years study by, questioning landscape and identity. Is the territory surrounding us influencing our identity? What happens then when this territory, reputed to be wild and pure, is in fact completely manipulated by humans?

‘After the cold war ended many of the bunkers became obsolete. The tendency is to forget them or even to renounce them, my approach on the contrary, aims to expose them from a new angle. This approach has led me to discover a great number of bunkers, some in remote areas, sometimes difficultly accessible, covering the whole of the Swiss territory. The relations between these basic shaped bunkers and the often-sumptuous landscape surrounds them became an essential part of the study. I looked for the most spectacular bunkers, notable for their camouflage devices, true theatre scenery made with the utmost care. A quality indeed fully Swiss.’ – Leo Fabrizio –

‘Are you present in the present to present the present?’ – Jamila Adeli, artistic director of BodhiBerlin asking independant curator Manray Hsu during a dialogue called: Can The Same Exhibition Happen Everywhere? in the framework of Rotterdam Dialogues: The Curators, March 7th 2009, Witte de With, Rotterdam, The Netherlands.

Félix Gonzàlez-Torres
Untitled (Perfect Lovers), 1991

Edward Burtynsky
Kennecott Copper Mine No. 22, Bingham Valley, Utah, 1983

‘Nature transformed through industry is a predominant theme in my work. I set course to intersect with a contemporary view of the great ages of man; from stone, to minerals, oil, transportation, silicon, and so on. To make these ideas visible I search for subjects that are rich in detail and scale yet open in their meaning. Recycling yards, mine tailings, quarries and refineries are all places that are outside of our normal experience, yet we partake of their output on a daily basis’. – Edward Burtynsky –

Tanggu Port, Tianjin, 2005

‘These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire – a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times’.
– Edward Burtynsky –

Oxford Tire Pile No. 5, Westley, CA, 1999

Oil Fields No. 13, Taft, California, 2002

Urban Renewal #5, City Overview From Top of Military Hospital, Shanghai, 2004

Toine Klaassen
Untitled, 2005

This work consists of rusty nails put on the ceiling composing the names of different global corporations like Shell, Pentax, Texaco, BMW….

Visit his TRAVELING LABORATORY FOR CONTEMPORARY ARCHAEOLOGY

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The 196th Law (“an eye for an eye..”) of Hammurabi, King of Babylonia, using graphics, in three different modes of cuneiform script, illustrating the evolution of signs over time. The first is the original Old Babylonian version (around 1750 BC), the second is in Neo-Assyrian signs (around 1000 BC), and the third is in the classic Sumerian signs used about 400 years before Hammurabi’s reign. Below that follow a transliteration into Akkadian and a translation into English.

Original Old-Babylonian

Neo-Assyrian

Classic Sumerian

Transliteration

šumma awīlum
īn mār awīlim
uḫtappid
īn šu
uḫappadû

English

If a man
the eye of a son of man
destroys
eye his
they will destroy.

Francis Alys
Gun Camera from SOMETIMES DOING SOMETHING POETIC CAN BECOME POLITICAL AND SOMETIMES DOING SOMETHING POLITICAL CAN BECOME POETIC , 2005

Ai Weiwei
Neolithic Culture Pot with Coco-Cola Logo, 1992

Han Dynasty Urn with Coca-Cola Logo, 1994

Dropping a Han dynasty urn (detail) 1995

Chinese artist and architect Ai Wei Wei uses the skills of craftsmen to transform antique Qing dynasty (1644-1911) furniture into mysterious objects that no longer have a clearly defined function. Ai is a conceptual artist in the Dada tradition, there is no doubt that showcasing the technical virtuosity of his hired minions is low on his agenda. Yet their superb skill is inextricable from his work; it is their expertise that allows his ideas to shine through. According to Ai ‘By changing the meaning of the object, shaking its foundation, we are also changing our own condition. We can question what we are.’ Shoddy workmanship would have distracted from the strange authenticity of Ai Wei Wei’s creations; we need to believe in their purposelessness in order to be persuaded to examine our own. – Tracey Clement –

Alexis Rockman
The Farm, 2000

oil and acrylic on wood panel, 96 x 120 in.
Courtesy of JGS, Inc.

‘My artworks are information-rich depictions of how our culture perceives and interacts with plants and animals, and the role culture plays in influencing the direction of natural history.

The Farm contextualizes the biotech industry’s explosive advances in genetic engineering within the history of agriculture, breeding, and artificial selection in general. The image, a wide-angle view of a cultivated soybean field, is constructed to be read from left to right. The image begins with the ancestral versions of internationally familiar animals, the cow, pig, and chicken, and moves across to an informed speculation about how they might look in the future. Also included are geometrically transformed vegetables and familiar images relating to the history of genetics. In The Farm I am interested in how the present and the future look of things are influenced by a broad range of pressures- human consumption, aesthetics, domestication, and medical applications among them. The flora and fauna of the farm are easily recognizable; they are, at the same time, in danger of losing their ancestral identities’.

Five cloned piglets: Noel, Angel, Star, Joy and Mary
Born on Christmas Day 2001 in the US Scottish-based firm PPL Therapeutics

These are not the first pig clones, but PPL, a commercial offshoot of the Roslin Institute in Scotland, says the pigs are the first to be engineered in a way that should help prevent their tissues being rejected by the human body.
The animals’ biological make-up is slightly different from ordinary pigs. PPL says that it intends to use the pigs as part of its programme to seek a cure for humans suffering from diabetes.

Brian Jungen
Prototypes for New Understanding, 1998-2005

Prototypes for New Understanding, Jungen’s series of West Coast Aboriginal masks made entirely from re-stitched Air Jordans, highlights his debut North American survey, an exhibit at the New Museum of Contemporary Art in New York City. Conflating the transformative power of ceremonial masks with Nike consumers’ desire to emulate or become sport stars by wearing a particular brand of trainers, Jungen plays with economic and cultural values, revealing the power of contemporary ‘idols’ and linking colonial history with today’s Third World sweatshop labor.

Nike Designs Shoe for American Indians
By SARAH SKIDMORE

BEAVERTON, Ore. (AP) — Nike on Tuesday unveiled what it said is the first shoe designed specifically for American Indians, an effort aiming at promoting physical fitness in a population with high obesity rates.

The Beaverton-based company says the Air Native N7 is designed with a larger fit for the distinct foot shape of American Indians, and has a culturally specific look. It will be distributed solely to American Indians; tribal wellness programs and tribal schools nationwide will be able to purchase the shoe at wholesale price and then pass it along to individuals, often at no cost.

“Nike is aware of the growing health issues facing Native Americans,” said Sam McCracken, manager of Nike’s Native American Business program. “We are stepping up our commitment … to elevate the issue of Native American health and wellness.”

Nike said it is the first time it has designed a shoe for a specific race or ethnicity. It said all profits from the sale of the shoe will be reinvested in health programs for tribal lands, where problems with obesity, diabetes and related conditions are near epidemic levels in some tribes.

Nike designers and researchers looked at the feet of more than 200 people from more than 70 tribes nationwide and found that in general, American Indians have a much wider and taller foot than the average shoe accommodates. The average shoe width of men and women measured was three width sizes larger than the standard Nike shoe.

As a result, the Air Native is wider with a larger toe box. The shoe has fewer seams for irritation and a thicker sock liner for comfort.

The N7 name is a reference to the seventh generation theory, used by some tribes to look to the three generations preceding them for wisdom and the three generations ahead for their legacy. The design features several “heritage callouts” as one product manager described it, including sunrise to sunset to sunrise patterns on the tongue and heel of the shoe. Feather designs adorn the inside and stars are on the sole to represent the night sky.

“It reinforces the core of the Nike brand, which is: If you have a body you are an athlete,” Paul Swangard, managing director of the Warsaw Sports Marketing Center at the University of Oregon

Associated Press writer William McCall contributed to this report from Portland, Ore.

We Re-act
Re-adjust
Re-admit
Re-affirm
Re-afforest
Re-animate
Re-appear
Re-appoint
Re-arrange
Re-ascend
Re-assemble
Re-assert
Re-assume
Re-assure
Re-baptize
Re-bind
Re-birth
Re-bound
Re-build
Re-call
Re-capitulate
Re-capture
Re-cast
Re-cede
Re-charge
Re-claim
Re-clothe
Re-cognize
Re-coil
Re-collect
Re-commence
Re-commend
Re-compense
Re-compose
Re-condition
Re-conduct
Re-conquer
Re-consider
Re-construct
Re-count
Re-cover
Re-create
Re-criminate
Re-crudesce
Re-current
Re-deem
Re-descend
Re-develop
Re-distribute
Re-double
Re-draft
Re-draw
Re-dress
Re-duplicate
Re-echo
Re-edify
Re-elect
Re-eligible
Re-embark
Re-enact
Re-enter
Re-establish
Re-examine
Re-export
Re-fashion
Re-fill
Re-fine
Re-fit
Re-float
Re-form
Re-fresh
Re-fuel
Re-fund
Re-furbish
Re-generate
Re-group
Re-habilitate
Re-house
Re-import
Re-incarnate
Re-inforce
Re-insert
Re-instate
Re-insure
Re-introduce
Re-invent
Re-invest
Re-issue
Re-iterate
Re-join
Re-juvenate
Re-kindle
Re-lapse
Re-lax
Re-lay
Re-lease
Re-legate
Re-light
Re-live
Re-make
Re-mark
Re-marry
Re-member
Re-mind
Re-miss
Re-model
Re-mould
Re-move
Re-name
Re-nascence
Re-new
Re-occupy
Re-open
Re-organize
Re-pass
Re-pay
Re-peal
Re-people
Re-percussion
Re-petition
Re-place
Re-plant
Re-plenish
Re-polish
Re-populate
Re-pose
Re-possess
Re-pot
Re-present
Re-press
Re-print
Re-produce
Re-prove
Re-publish
Re-pulse
Re-purchase
Re-sale
Re-search
Re-seat
Re-seize
Re-sell
Re-serve
Re-set
Re-settle
Re-ship
Re-shuffle
Re-sign
Re-solution
Re-solve
Re-sort
Re-sound
Re-source
Re-strain
Re-strict
Re-surgent
Re-surrect
Re-survey
Re-tell
Re-tire
Re-touch
Re-trace
Re-tract
Re-treat
Re-turn
Re-unite
Re-use
Re-value
Re-vision
Re-view
Re-vote
Re-wind
Re-write