Shanzhai Archeology is a collection of original phones from the technological interbreeding Made in China. This project casts a critical look at the production of technology through an artistic interpretation of a recent historical fact, still poorly known: the shanzhai.
Often presented as mere counterfeits of low quality, these objects nevertheless draw many unusual technological trajectories that make them the revealers of technological possibilities literally out of European standards. As odd looking hybrids, these puzzling artefacts question a hyper-normalised western technological imaginary.
The figure of the drone serves as the starting point for this film, enabling it to explore the intersections that exist between fictional depictions arising from science fiction literature and the actual advent of flying machines with camera vision in contemporary world, folklore and mythology.
By juxtaposing quotes from works from the previous century (1880–2000) with a selection of popular, recent videos that have been posted on video sharing websites, this film explores the grey zone between self-fulfilling prophecy and composite narratives.
VARIOUS CONTRIBUTORS (WORKSHOP @ HEAD GENEVA, MAY 3–5, 2017)
PROTOTYPE - ONGOING | 2016-2017
« This acknowledgement of powerlessness before the upsurge of unexpected, catastrophic events forces us to reverse the usual trend which exposes us to accidents and inaugurate a new kind of museology and museography: one which consists in exposing or exhibiting the accident, all accidents, from the most commonplace to the most tragic, from natural catastrophes to industrial and scientific disasters, including also the kind that is too often neglected, the happy accident, the stroke of luck, the coup de foudre or even the coup de grâce! » — Paul Virilio
In a context where science, technology and innovation are at the core of contemporary belief systems, it seems essential to consider establishing an alternative technology museum, no longer through a series of heroic exploits often instrumentalised, but through a panorama of the numerous failures highlighting the purposes, the narratives and the heterogeneous imaginary of a society.
We wish to establish a collection of aborted projects, flops, errors, malfunctions, business failures, ethical rejection or disasters, reflecting the outlines of our society, from
a historical, symbolic, poetic and cultural point of view.
The Blacklists project is a directory of the prohibitions of the Internet deployed in the form of an encyclopedia in 13 volumes of 666 pages each. It is an extensive collection of restricted websites used for the automatic filtering of traffic considered illicit or licentious.
Just like the intent of «forbidden libraries» for books, the Blacklists project points out the sidelining of online content that could be dangerous for the very survival of the system. With around 2 millions websites extracted from commercial content-control softwares, this collection reveals a cultural, social and ideological model of our society through what should not be seen.
PROGRAMMING: IVAN MURIT
KML TRAJECTORIES, VIDEO | 2013–2014
War Zone explores the military background of mainstream technology. In this video work based on historical facts, the artist reconstitutes three missile trajectories with a subjective camera angle using Google Earth. This work articulates around haunting high technologies by introducing cues of their military origins. Here we focus on the missiles, the ancestor of the space program and satellite launches, whose shots and cartographies we use on an daily basis.
So we follow the trajectory of a V2 rocket, developed by the Nazis and launched from the Netherlands to London in 1945. Then a Scud rocket launched from Kuwait to Saudi Arabia during the Gulf War, and finally an air-to-ground missile launched from Israel to Gaza in 2014. Riding our missile in the style of Dr Strangelove, we find ourselves wondering about the evolution of those instruments of death. From the poor precision of a V2 to the surgical strikes of Israel, the country with the largest number of start-ups, particularly in cyber-defence, and where the military is the prime crucible of innovation. This work is based on data gathered on newspaper archives, interviews, blogs, historical facts.
Predictive Art Bot is an algorithm that uses current discourse as a basis to create concepts for artistic projects and, at times, prophesize absurd future trajectories for art.
Algorithms are now widely used in different fields to make predictions using data analysis, statistical analysis, and pattern recognition for applications including the purchasing behavior of particular groups, global market developments and even potential crimes. In contrast, the Predictive Art Bot is a specialist in making art forecasts, published daily on Twitter, which are meant to expand the limited human imagination with new, non-human perspectives.
As a parody of transhumanist prophecies,
the Predictive Art Bot liberates artists from the constraints of creativity and develops ideas not yet implemented or conceived by humans. — Inke Arns
In the context of omnipresent telecommu-nications surveillance, The Pirate Cinema makes visible the hidden activity and geo-graphy of peer-to-peer file sharing. The project is presented as a monitoring room, which shows P2P transfers happening in real time on networks using the BitTorrent protocol.
The installation produces an arbitrary cut-up of the files currently being exchanged. This immediate and fragmentary rendering of digital activity, with information concerning
its source and destination, thus depicts
the topology of digital media consumption and uncontrolled content dissemination
in a connected world.
CONCEPTION & EDITING: DISNOVATION.ORG
PUBLISHER: AKSIOMA, LJUBLJANA | 2015
CONTRIBUTORS: JOTA IZQUIERDO, CHRISTOPHER KIRKLEY, MARIE LECHNER, PEDRO MIZUKAMI,
ERNESTO OROZA, CLÉMENT RENAUD, ISHITA TIWARY, ERNESTO VAN DER SAR & MICHAËL ZUMSTEIN
VIDEOS: JOTA IZQUIERDO
This work offers a broad view on media piracy as well as a variety of comparative perspectives on recent issues and historical facts regarding piracy. It contains a compilation of texts relating grassroot situations where strategies have been developed to share, distribute and experience cultural content outside of the confines of local economies, politics or laws. These stories recount the experiences of individuals from India, Cuba, Brazil, Mexico, Mali, China and UK.
The book is structured in four parts and begins with a collection of stories on piracy dating back to the invention of the printing press and expanding to broader issues: historical and modern antipiracy technologies, geographically specific issues, as well as the rules of the Warez scene, its charters, structure and visual culture.