Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis ut nunc quis est rhoncus euismod vel at ex. Morbi quis ante sed dui malesuada volutpat ut vel sem. Suspendisse iaculis orci leo, ac consectetur turpis fermentum vitae. Interdum et malesuada fames ac ante ipsum primis in faucibus. Proin viverra turpis massa, et congue erat aliquet in. Ut accumsan interdum orci, a mattis nibh bibendum at. Orci varius natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Pellentesque accumsan nulla nibh, sit amet tempus turpis aliquet nec.
My main mode of work are video bricolages of my own footage in different formats, archive materials, drawings and animated visuals. In this montage or collage practice, I will be very interested to try out scientific renderings as material, especially when they are so appealing and revealing of natural processes as Guillermo’s work.
I plan the artwork as a crescendo of intensities that starts a solo walking performance, extends to a group performance, and transfigures both fieldwork and performances into an installation featuring bioart and music. These elements are woven together through biotechnological manipulation of materials derived from my body and from the site, for instance bodily fluids and soil. The crescendo of Lament will chant more-than-human death and take the audience into a space where grief is dignified. Its aesthetic will convey strong bodily affect and ideas of interconnectedness.
These Relations Are Forever uses the thematic thread of Endocrine Disrupting Chemicals (EDCs) to weave a speculative story of ritual and healing, where scientific and policy outcomes are intertwined with artistic processes. It will bring together the knowledge of four researchers, whose work sits at different stations along a flow of chemicals; from agriculture via law and policy through bodies and into water.
According to the global assessment on pollinators produced by the Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services (IPBES) in 2016, seventy-five percent of our main food crops and nearly ninety percent of wild flowering plants depend to some extent on animal pollination for their reproduction. Beyond food, pollinators also contribute directly to the reproduction of plants used as medicines, biofuels, fibres like cotton and linen, and construction materials.
Each metronome has a light emitting rod that will be moving and pulsating in different frequencies like a normal music metronome. All metronomes can be controlled from a central microcontroller. At the begging all metronomes stand without motion. Then the data from the global temperature rise per year will start to feed the installation and one by one the metronomes will start to operate (moving, emitting light and ticking). As the global temperature will rise, the metronomes will be oscillating faster in higher frequencies. At some random point all metronomes will stop immediately.
During the Summer School many panels and debates focused on creating new narratives, imaginaries, and metaphors about how to reconnect with nature from another perspective. But one of the major difficulties encountered is how to move forward and to find the point(s) of de-centring our anthropocentric positioning. In this respect, Saskia Vermeylen’s presentation during the Nature and Law keynote was very inspiring. The ensuing conversations we had with her, during and after the Summer School, encouraged us to work in this direction.
The actual artwork will be determined and developed after a site has or sites have been determined in consultation with JRC experts.
The work will be interpretive, inspired by a direct, personal response to a site or sites. I never start a project assuming an outcome. I find my direction from the site itself and through the re-experiencing of the fieldwork in the studio.
See Appendix A for examples of previous artwork created using similar research methodology.
Proposed materials might include, but are not limited to:
The main piece is an installation where viewers are immersed in a hypnotic change of the terrestrial surface: their perception of time is altered in relation to the temporal complexity of the ground. The project intends to create an experience that embeds the audience in planetary cycles and natural rhythms that usually remain invisible as they exceed human perception. Visitors experience the processes taking place in a temporally accelerated way.
- Materials: The physical materials used to build the entire installation space will include recycled sheet plastic collected from the community (JRC campus and the town of Ispra). The plastic will be ironed together to make large plastic sheets. These sheets will be used to build the plastic inflatable structure (the interior of which will become the experienced installation space). The scale and design of the installation space will be dependent on the amount of community plastic consumption and collaboration.