Yes, you read that right.
I went to an art exhibition with a difference the other day. The venue – Furtherfield Gallery – is the tiniest I’ve been to, 10 people gathered in there began to feel like a tight squeeze. And it was located in the middle of Finsbury Park. That represented a first for me on both counts of location and venue. Then the exhibits themselves were eye-popping and intriguing not only because of their aesthetic qualties (baby dragon flower, anyone?) but also because of the clear, focused and frankly wonderfully bonkers intentions behind the so-called art. I can honestly say that I’d never encountered anything quite like this before.
terra0 is a self-owning augmented forest. According to the blurb on the website: “the project is meant to be an ongoing art project that strives to set up a prototype of a self-utilised piece of land.” Put simply, this is a scenario where it is possible for a forest to eventually buy itself so that it becomes its own owner! Which would then mean that it is in the position to buy more ground and expand.
I’m so fascinated by this idea that I’ve since signed up to the mailing list but on the day of the exhibition, I actually contributed some money towards the project. This involved converting £2 into cryptocurrency which in turn would make the plant-like exhibits made of metal, glass and electricity acknowledge your contribution by doing a little dance.
Dancing Plantoid 2 from Dzifa Benson on Vimeo.
My mind is still blown from this and I’m still trying to wrap my head around the whole notion but I like that it questions the concepts of economics, ownership, personhood, purpose, function, property, blockchain technology, nature, culture……it turns so many things on their heads. You could do worse than taking half an hour out of your day to read up about it.
Most people recognise the names of husband and wife design duo Charles and Ray Eames because of their classic furniture designs. Pieces such as this have become very familiar to us as design classics:
But the Eames also had a huge impact on modern architecture, industrial and graphic design, manufacturing and, even turned their minds to devising puzzles, toys, puzzles, exhibitions and magazine covers. But it’s their filmmaking talents I’m interested in today.
This classic film from 1977 uses the simple formula of a magnitude of ten to show us two extreme perspectives. Zooming out intergalatically and then magnifying into the deep molecular levels of human body, it contextualises our place in relation to the rest of the universe.
Nearly 50 years later, it hasn’t lost its power to express complex ideas very simply. The Eames weren’t filmmakers per se but this documentary is a testament to one of the basic tenets of their design philosophy which held that innovation had to be the last resort.
Charles and Ray Eames – 1977 Power of Ten from Keith Kennon on Vimeo.
As a writer, one of my major preoccupations and sources of inspiration is the body. It is the interface through which we experience and interact with the world and each other. It’s an object of locomotion, articulation, industry, fuel and beauty. It’s a very effective computing, plumbing and replicating system. It has hinges, a pump and electricity. And that’s just the physical. It is also, of course, the centre of emotion, spirituality and metaphysicality. It is the link between the dead, the living and the unborn.
I think about all of that and more when I watch this video of body parts morphing into each other by Dutch artist Diederik Klomberg. It’s fascinating, creepy, cool and amazing all at the same time.
Flesh from Diederik Klomberg on Vimeo.
They are called New Conformity and they are a group of jugglers who are also a part of Cause & Effect Circus. This piece is called It’s Business Time and I just love that they play against the stereotypical juggling act. I’m betting these guys are dancers/acrobats. They are certainly storytellers. They make all that intricacy look so easy!
This song, Feeling Uneasy, is startling because for pretty much all of its 2 minutes and 50 seconds, Etta James manages to let you know exactly why she is feeling uneasy without using any words except for a couple of lords and the title of the song said once right at the end. The rest is the incomparable Etta James emoting via oohs, aahs, yowls, a bit of scat singing. You feel her pain for sure.
Stirring, startling stuff!
I have long admired the way in which artist Joshua Sofaer approaches the participatory aspect of his practice. It is always very considered whatever mood it invokes – philosophical, humorous, inventive, bold, reflective, excavatory. Or cheekily clever, as in this nugget of a film below where he explains the term ‘Live Art’ on London’s Oxford Street. It’s clear to see that people on the street are engaging with him. But why? You’ll need to watch until the end of the film to find out.