Mixing the NGV’s Triennial and its own collection together as I was decidedly zombie on the day (Paea saw me and laughed), and sometimes not sure where one or the other began or stopped, and saving all the old cruft for a separate post.
Richard Mosse I confused with Trevor Paglen, whose Limit Telephotography and The Black Sites work has been turning up in my reading for over a decade. Mosse is kind of a successor, or working similarly, pushing photographic technology and making deeply political art. Louisa Bufardeci also, though using manual labour to again create something on first view beautiful and aesthetic, which is contextualised into a evidence of and memorial for refugees whose boats sunk at sea off the coast of Australia. Both these works sit uneasily inside Fortress Australia and within the NGV, as Mosse’s second work (which you have to pass through to reach Incoming) describes: the NGV’s former use of Wilson’s security, to whom the government outsourced illegal detention centre policing. (The NGV ended its contract with Wilson’s after artists’ protests, organised by Gabrielle de Vietri and others, though the relationship between arts institutions like the NGV, policing and generations of human rights violations remains largely untouched.)
Onto something slightly more cheerful, or at least I could not wipe the smile off my face watching Adel Abidin’sCover Up! where Marilyn Monroe’s iconic subway scene in The Seven Year Itch is replaced by an Arab man wearing a Kandura (Dishdasha, Thawb) giving me the cheekiest eye as he tries (not very hard) to prevent a flash of leg.
Next to that is Faig Ahmed, with a 21st century Azerbaijani carpet, digitally bleeding and glitching. Hal reminds me of the Afghan War Rugs, cultural memory lossy compression like a jpg, copied and recopied with no line of context to an original, regional signifiers and techniques that say authentic and traditional unfolded as repeating geometric shapes of aircraft carriers, World Trade Centre towers, text like USA and Pepsi, blocks of iconography decoupled from meaning, becoming pattern again.
Timo Nasseri, Epistrophy, op-art cut into the wall like the mid-20th century works of Adolf Luther I saw in Von der Heydt-Museum, Wuppertal. Possibly a new profile photo coming out of that, but not thinking much of it until I looked at more of his work and saw the thread of Islamic / Islamicate architecture and mathematics in it. Good choice for a profile photo, then.
Jumping to the last artist, Nusra Latif Qureshi. She used to come into the VCA Student Union when we were both students. I always loved her art, miniatures in the South Asian tradition (which has connections to mediæval European illuminations, art flowing along the lines of trade as much as trade and commerce), and I was really happy to see her work in the NGV. Again, political, the colonial history of Europe in the unbroken history of Asia-Pacific.
I had thoughts, weaving through the Triennial and the NGV’s permanent collection in my spent, post-festival state. Thoughts. Many. I had. Like, the art that can touch me is always political, because art is inseparable from political, unless the artist has the luxury to be insulated from having political’s gaze turn onto them, so they get to play with ideas and technology and pretend there are no consequences, no urgency, no struggle; they get to live without the violence of history. I see myself in art that is political, even though it is seldom specifically ‘about’ me. I see also a difference between the superficially political, diversity as aesthetic, and art by artists whose lives, by their very existence, is political. I saw the strength of the NGV when it celebrates, represents, amplifies Asia-Pacific and Indigenous artists. This is when it makes sense, not when it assembles an incoherent, contextless junk box of ‘European’ art, manufacturing a phantasmic history of Australia, like Australia was ever located just off the coast of England, or when it divides that into Art and anything pre-Invasion Asia-Pacific into Ethnography. I didn’t see the entirety of the Triennial or the NGV, it’s an awkwardly designed interior space, easy to miss cul-de-sac turn-offs that open to entire wings, more time walking to and from and between than through art. It struggles between competing imperatives, like that of its European fantasy, or oddly misplaced exhibitions that owe more to consular trade and advertising than art and artists. But, see the Triennial? Yes, if you’re in Naarm. There’s good stuff there (heaps I didn’t see, let alone photograph).
One of my favourite works in the NGV Triennial — and in the gallery altogether. Calm, meditative destruction in infra-red black and white in a cavernous, beanbag-filled auditorium. Post-FOLA decompression and collapse, bumping into Paea — again, so many times — and barely assembling a conversation in my shuffling exhaustion. I had a thought watching Richard Mosse’s Incoming that art works for me only when it’s political, and all art is inherently political, existing as it does apart or outside of language (be it written or spoken). When I look at European mediæval art, I see vast political, theological, philosophical arguments being waged in materiality; the same for religious works in other regions I am familiar with enough to make basic statements on. This is what, for me anyway, makes art that purports to not be political so weak, like Iris Van Herpen’s fashion design, pushing material technology in beautiful ways, yet strangely inert in political’s absence. You’re only playing if you’re not political.
The park exists because the new Bundesnachrichtendienst buildings want a clear line of sight. The park exists because it’s a sliver of left-over land through which the south branch of the Panke Canal runs, briefly above ground before being returned to it’s tunnel until it’s spat into the Spree by Bertold-Brecht Str. There is another momentary surfacing behind Deutsches Theater where it dog-legs between the buildings. I have never seen this. It seems to do some right angles to surface in a gully along Schwarzer Weg as well. I think of the Panke as my canal, flowing as it does just beyond the buildings of Uferstudios when I lived in the Uferhallen. I’d always wanted to see where the Südpanke went, but it seemed only underground. Not at all. Between the Spree and BND it flows through a narrow park, one side wetland, the other promenade. Justine showed it to me today as we walked from Naturkundemuseum to Uferhallen, following the stream.
Somehow I got from trying to find my way across Berlin to several hours traipsing up the Tanami Track and across the desert in South Australia and the Northern Territory. Along the way I found a couple of impact craters, marvelled at the astoundingly and diversely complex geological processes across central Australia, followed dry, braided rivers to their inland deltas, seasonal lakes and waterways, found airport runways, a scrawl of tracks, trails, roads, paths that faded in and out, cattle stations, groups of houses, mines, diggings, scratchings, was amazed at the quantity of signs of human existence in the blankness, more amazed still by the utter beauty of the land, realised it looked a lot like my favourite kind of art and some of the stuff I was doing a while ago, and I was better just to take screenshots than a paintbrush, also that I am unlikely to ever see this land from the ground, and to see it like this, from surveillance satellites mapping the planet down to metre-resolution is something I’ll never experience.
Person of Interest started Season 4 last night. Alongside Orphan Black it’s exceptional short-form drama, science-fiction or otherwise. (Who actually has television anymore?) After a “welcome back!” hour of the delightful Root, Shaw, Mr Reese, Harold, and Fusco (and Bear!), we arrive almost where we started in the first episode of the first season: Carter’s desk. The moment of Reese pausing, looking at the desk, then Fusco was not lost: Carter was loved and her murder mid-season 3 was traumatic. It’s rare for short- or long-form drama—especially science-fiction or action—to build and maintain characters and emotions, let alone to remember them once a character’s ‘story arc’ is ‘complete’, yet here we are fifteen episodes and one season later with a scene running a full minute with minimal dialogue that reminds us of their absence.
With a total of 61 Internet users in detention at the start of May 2004, China is the world’s biggest prison for cyber-dissidents. It is also the country where the technology for e-mail interception and Internet censorship is most developed. What’s more, the authorities recently decided to tighten the vice and roll back the few gains made by Internet users in recent years.
The Chinese authorities use a clever mix of propaganda, disinformation and repression to stifle online free expression. Initial hopes that the Internet would develop into an unfettered media and help liberalize China have been dashed. What has happened in China has shattered generally accepted ideas. The Internet can indeed become a propaganda media. On its own, it will not suffice to support the emergence of democracy in any significant way. And it can be totally controlled by a government that equips itself to do so.
Indeed, the way the Chinese government has sabotaged online dissent offers a model for dictatorships around the world. Cuba and North Korea stifled online dissent by limiting the Internet’s development. The Chinese government unfortunately proved that the Internet can be developed and sterilized at the same time.
CarnivorePE is inspired by DCS1000, a piece of software used by the FBI to perform electronic wiretaps. (Until recently, DCS1000 was known by its nickname “Carnivore.”) Improving on the FBI software, CarnivorePE features new functionality including: artist-made diagnosic clients, remote access, full subject targetting, full data targetting, volume buffering, transport protocol filtering, and an open source software license. Carnivore is created by RSG.
Carnivore has been exhibited at New York Digital Salon, University of Michigan Gallery, DEAF, Eyebeam, Ars Electronica Center, Electrohype, Art Futura, Darklight Digital Film Festival, The Watson Institute, NTT InterCommunication Center, White Columns, New Museum, Kontrollfelder, Illinois State University Galleries, Transmediale, and the Princeton Art Museum. Carnivore was a Golden Nica winner in the 2002 Prix Ars Electronica.