Russian press on Fundamental Units

Большой интерес к маленьким монеткам. Фотопроект Fundamental Units от Martin John Callanan

kulturologia

Как известно, копейка рубль бережет, а с 10 центов и того больше набежать может. Жаль только, что мелкие монеты постепенно выходят из оборота. Изготавливать такие деньги слишком дорого, ведь их себестоимость зачастую получается вдвое выше номинала, и потому в ряде зарубежных стран мелочь уже практически не используют. Дабы оставить потомкам память об этих исчезающих деньгах, фотограф Мартин Джон Калланан (Martin John Callanan) и задумал свой масштабный фотопроект Fundamental Units, посвященный монетам разных валют с самым низким номиналом.

В этом проекте Мартин Джон Калланан решил собрать монеты из 166 различных стран, чтобы сохранить их хотя бы на фотографиях. Причем сделать фотоснимки наивысшего качества, предоставив любопытным людям возможность рассмотреть монетки в мельчайших подробностях, до самой последней зазубринки. Так что фотограф работал не с фотокамерой, а с 3D микроскопом с фокусировкой на бесконечность, который ему предоставили для работы в Британской Национальной Физической Лаборатории. Это устройство дает изображение с рекордным разрешением в 400 мегапикселей.

Каждую монетку фотографировали с индивидуальной экспозицией, а затем собирали все получившиеся снимки в одно гигантское изображение, обработка которого занимала около трех дней. Размер готовых фотографий составлял 1.2 х 1.2 метра. Этого оказалось достаточно, чтобы показать истинное “лицо” каждой монетки из этой мегаподборки разнообразной мелочи. Фотографии продемонстрировали все неровности, царапины и другие механические повреждения монет, следы коррозии и частички грязи, – те “шрамы”, которые оставило на их боках время.

Арт-проект Мартина Джона Калланана включает в себя фотографии таких монеток как мьянманский кьят и шведская крона, британский пенни и чилийский песо, свазилендский пятицентовик и румынский бан, польский грош и латвийский сантим, а также американские и европейские центы и другие “копейки”. Выставка больших фотографий маленьких монеток стартовала в ноябре прошлого года в Испании, в арт-галерее Galeria Horrach Moya.

see the full article

and Kleinburd News

Kleinburd News

Daily Mail: Look after your pennies: microscopic pictures of world’s lowest value coins to save them for future generations

Daily Mail

Look after your pennies: Photographer takes microscopic pictures of world’s lowest value coins to save them for future generations

  • The Fundamental Units is a project by photographer Martin John Callanan
  • Used Europe’s best microscope’ to show each coin in all its worn charm
  • Comes as governments debate whether to do away with lowest value coins
  • With every battered line, scrape and knock, each coin has been rendered as individual as the many thousands of hands they have passed through.

    Now, as governments across the world debate whether to do away with their lowest value coins, one photographer is on a mission to save as many pennies as he can before they are consigned forever to history,

    Photographer Martin John Callanan is busy working on a photo project entitled The Fundamental Units – a series of extremely large prints showing the lowest value coins of countries around the world.

    He has teamed up with National Physical Laboratory in Teddington, to use ‘Europe’s best microscope’ to show each coin in all its worn charm.

    Each coin is photographed with 4,000 individual tiny exposures, and it takes three days of processing to turn the individual photos into a single composite photograph weighing 400 megapixels. Printed out, each photo measures 1.2 and 1.2 meters (~3.9 square feet).

    ‘In this sense, and in response to the dominance of macroeconomics in the discourse of the media, the artist chooses a microscopic view of the world economy.

    ‘The Fundamental Units, a series that begins with the works produced by Horrach Moyà Gallery for this exhibition, is an exploration of the lowest denomination coins from the world’s currencies using an infinite focus 3D optical microscope at the National Physical Laboratory in Teddington.’

    ‘The images obtained with the microscope have been combined to form an extremely detailed large scale reproduction of the least valuable coins from Australia, Chile, the Euro, Myanmar and the Kingdom of Swaziland.

    ‘In these images the humble metal acquires a planetary dimension and is displayed as the atoms that shape the global economy.’

    There are many precedents for scrapping small coins.

    In America, the half-cent was abolished in 1857, and in 1984 the UK’s halfpenny was withdrawn.

    New Zealand and Australia abandoned the one-cent and two-cent coin in the 1990s.

    Campaigners in the US and UK also want the penny and cent coins to be consigned to history, because nothing can be bought with a one-cent or one-penny coin.

    see the full article by Amanda Williams

    Reposted on Numismatica

    Small Change Writ Large: ‘The Fundamental Units’ by Martin John Callanan

    Core77

    Rain Noe at Core77 writes:

    What does that look like to you? The cave drawings at Lascaux, maybe?

    How about this one? A shield from an ancient civilization?

    Nope, these are the lowest of the world’s low-value coins, those forgotten bits of metal that keep lint company in our pockets or fill forgotten jars. Perhaps sensing that cents are on the way out, Martin John Callanan—self-described as “an artist researching an individual’s place within systems”—is photographically preserving them for posterity with his The Fundamental Units project.

    The kicker is that a regular camera wouldn’t do, not for what Callanan had in mind; so he teamed up with the UK’s National Physical Laboratory, which is that country’s national measurement standards lab, to use their infinite focus 3D optical microscope. Callanan then captured some 4,000 exposures of each freaking coin, resulting in a series of 400 megapixel images that, blown up and hanging on a gallery wall, reveal details you’d never spot on the real deal. Every nick, scratch, dent, ding and discoloration are laid bare.

    So far he’s captured cents, pesos and pence from Australia, Bulgaria, Chile, Croatia, Denmark, Iceland, Latvia, Lituania, Myanmar, Poland, Romania, Swaziland, Sweden, and the United Kingdom, not to mention the Euro; but by the project’s end, Callanan plans to have captured “the lowest denomination coin from each of the world’s 166 active currencies.”

    see the full article

    Монеты мира, сфотографированные лучшим в Европе микроскопом

    Знаете ли вы, что для того, чтобы отчеканить монету номиналом в 1 цент, Соединенные Штаты затрачивают 2 цента вследствие стоимости материала и производства? Страны такие, как Канада уже отказались от использования монет с низкой деноминацией из-за их стоимости и бесполезности.

    Так как эти монеты “ не имеющие ценности” вызывают горячие дебаты в правительствах о том должны ли они быть упразднены, фотограф Мартин Джон Калланан (Martin John Callanan) взял на себя миссию, чтобы сохранить их…. не, как валюту, но скорее на фотографиях.

    Калланан работает над фото проектом под названием «Фундаментальные Единицы»( The Fundamental Units), который представляет собой серию очень больших принтов с изображением монет стран мира с самым низким номиналом. Цель этого проекта заключается в том, чтобы сфотографировать фундаментальные монеты 166 различных стран.

    Для своих фотосъемок он не использовал фотокамеры. Вместо этого он обратился в Национальную Физическую Лабораторию в Теддингтоне, Великобритания, в котором, как говорит Калланан, работает лучший в Европе микроскоп (3D микроскоп с фокусировкой на бесконечность).

    Каждая монета фотографировалась с индивидуальными экспозициями 4,000. Для обработки каждого изображения в отдельную композитную фотографию весом 400 мегапикселей требуется 3 дня. Размер каждого распечатанного снимка составляет 1.2 х 1.2 метров.

    Получившиеся в результате фотографии отображают материальность монет, изношенных и поврежденных коррозией.

    Coins of the World Photographed Using Europe’s Best Microscope

    The Fundamental Units

    Michael Zhang writes about the Fundamental Units over on Peta Pixel with lots of images.

    Did you know that it costs the US Mint 2 cents to produce every 1 cent coin due to the cost of materials and production? Countries such as Canada have already done away with their lowest denomination coins due to their costs and lack of usefulness.

    As these “worthless” coins cause debates in their governments about whether or not they should be abolished, photographer Martin John Callanan is on a mission to save them… not as a currency, but rather in photographs.

    Read the full article

    Peta Pixel

    Article made it to the top of Digg.com

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    and Botanwang in China

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    Screen shot 2013-04-14 at 14.51.04

    Directory Of Fictitious Telephone Numbers – Impossible Transmissions

    An aseptic space. One white table and on it a printed directory, accompanied by an apparently normal looking telephone. It would seem the right environment to make a call. And calls are, in fact, made. The phone operates automatically, dialling random numbers from the many listed in the phone book . The diffused audio allows visitors to listen to the classic dialling sounds, followed by a precise dead tone or a message saying, in varying languages, ‘the number you dialled does not exist’. The process repeats itself tirelessly; another number, another country, another language. A loop of sounds and dead time; a form of a dance, a ritual. A monologue or perhaps a soliloquy. No matter which of the many available numbers are dialled, it is certain that no calls will ever be answered because the list of numbers is officially exposed as The International Directory of Fictitious Telephone Numbers – an extensive list of numbers certified as non-existent and neatly divided into geographic areas of the world. The compilation of this phone book includes official requests from telecommunication regulators in different countries. The artwork, resulting from research by the British artist John Martin Callanan and presented first in Spain and then at the Whitechapel Gallery in London, is indefinitely offered as a resource for use in drama or film productions so that unsuspecting people aren’t disturbed by inquisitive viewers. Art in defence of privacy?

    Benedetta Sabatini

    Along Some Sympathetic Lines, Or Gallery, Berlin

    Along Some Sympathetic Lines

    Along Some Sympathetic Lines

    Along Some Sympathetic Lines

    Along Some Sympathetic Lines

    Along Some Sympathetic Lines

    23 February – 27 April 2013
    Opening 7pm, 22 February 2013

    Or Gallery, Oranienstr 37, Berlin 10999, Germany

    Or Gallery is pleased to present Along Some Sympathetic Lines, an exhibition of artwork by London-based artist Martin John Callanan, and an archive project by curator Liz Bruchet. The exhibition considers the poetic possibilities of data and its documentation, and the tenuous process of making meaning.

    Martin John Callanan is an artist researching an individual’s place within systems. Callanan generates and reworks photographs, letters and electronic data into evidence of exchanges – between the individual, the institution and the networks of power that intertwine them. The exhibition presents four of the artist’s series: The Fundamental Units, the result of amassing millions of pixels of data, to photographs, in microscopic detail far beyond the capacity of the human eye, the lowest monetary unit of each of the 166 active currencies of world, only to enlarge and print them to vast scale; Wars During My Lifetime, an evolving newspaper listing of every war fought during the course of the artist’s life; Grounds, an ongoing photographic archive which charts ‘important places’ in the world where security restrictions limit the image to the carpeted, tiled or concrete floors; and Letters 2004-2006, Callanan’s correspondence with various heads of states and religious leaders which implicate them in conversations that question their very rationale of their authority. These acts of excavating, accumulating and visualising data draw out the sympathetic aspects within documentation and in so doing, mark and disrupt the underlying power dynamics.

    A second gallery features an archive project by London-based curator Liz Bruchet. The display of ephemera from the personal archive of the curator’s grandfather, a Canadian insurance salesman and aspiring radio presenter, takes its inspiration from a found audio recording – part monologue, part autobiography, and part radio show – made in 1974. Harnessing the impulses of the collector, archivist and biographer, the curator reasserts her role as custodian and caretaker to nurture narratives and give weight to the subjective remnants of one man’s life.

    This exhibition is curated by Liz Bruchet.

    The exhibition is possible with the generous support of Or Gallery, the National Physical Laboratory, and UCL European Institute.

    With thanks to Galeria Horrach Moya, (Hiper)vincles, Whitechapel Gallery, Book Works, David Karl, and Pau Waelder.

    Martin John Callanan: On Systems and Processes (de sistemas y procesos)

    art.es arte_contemporáneo_internacional a

    Article and interview with Pau Waelder in Art.es #53

    Download the full article as PDF

    art.es international_contemporary_art announces the publication of its issue #53, with the following contents:

    • art.es Project #44: Marina Núñez, Necrosis. (2013), digital image.
    Cover and 22 inside pages. As always, an exclusive for the magazine (the originals belong to the art.es Collection).
    Introductory text: Susana Cendán: Marina Núñez: “Everything has to do with the monsters”.

    • Reflections:
    – China’s Long March (4/10) (Zhang Fang).
    – Meschac Gaba: Trying to change African society (Abdellah Karroum).
    – A quantum reflection of Bakalhau (Cod Fish) (Fernando Galán).

    • Media Art:
    – Martin John Callanan: On Systems and Processes (Pau Waelder).

    • Interview:
    – Rafa Macarrón: “the solitude of man before the universe inmensity” (Fernando Galán).

    • Film:
    – Lipsett: a personal dilemma (Jorge D. González).

    • Work_and_Word:
    – Marco Ayres (Portugal)
    – Simón Vega (El Salvador)
    – Luis Gordillo (Spain)
    – Pipo Hernández (Spain)
    – Natxo Frisuelos (Spain)

    • Exhibitions:
    – The sublimation of detail: José Ferrero (Madrid) (Terry Berne).
    – Bunga: beyond space: Carlos Bunga (Santa Mónica, California, USA) (Béatrice Chassepot).
    – The descent into Marina Núñez’s hells (Valladolid, España) (Alfonso León).
    – Reinterpreting art’s recent history: Roger Gustafsson (Madrid) (Fernando Galán).
    – If you like small things: group show (A Coruña, España) (Nilo Casares).

    • Museums
    – Critical museology (2/2): On the limits of institutional art criticism (and critical museology as established discourse (Jesús Pedro Lorente)

    • What’s going on in… Toronto? (John K. Grande).

    • Books:
    – “La Movida”, counterculture and normalization (La Movida, au nom du Père, des fils et du Todo Vale) (Juan Albarrán).

    art.es is a 100 % bilingual magazine (English/Spanish) with contributions from the world over, and aimed at the entire world of genuinely contemporary art.

    art.es focuses on established art as well as the latest creative iniciatives emerging from every corner of the planet. It informs and reflects on topics of interest, but with a fresh language and crisp design which are comprehensible to both specialists and amateurs. It has over 90 specialized collaborators and correspondents covering each and every geographical and thematic area of the contemporary art world.

    Press release

    Slade Video Collection – The Space

    The Space

    The Space have published a curated collection of single screen videos by 12 artists at the Slade School of Fine Art, which demonstrates the broad range of approaches, techniques and experimentation explored by Slade students and recent Slade Alumni. This offers a unique opportunity to see a diverse collection of challenging, experimental work which would only previously have been available to those who had visited the Slade degree shows last year. Organised by Martin John Callanan.

    Invited by: Daniel Laufer, 13th February – 20 March 2013

    Invited By

    Invited by: Daniel Laufer

    13. Februar – 20. März
    Eröffnung: Mittwoch, 13. Februar, 19 Uhr

    February 13 – March 20
    Opening reception: Wednesday, February 13, 7 pm

    Eine Editionsbox mit 22 Künstlern / a box of Editions by 22 artists
    Invited by: ist eine neue Editionsreihe von Provinz, zuerst veröffentlicht im Februar 2013. Invited by: versammelt eine große Zahl an zeitgenössischen Künstlern, die je einen Beitrag zu einer Editionsbox leisten. Die Beiträger werden je von einem kooperierenden Künstler eingeladen, der invited by: jeweils kuratiert.

    Die Box, bei dieser Premiere im Format A4 und mit Beiträgen von 23 internationalen Künstlern, enthält Zeichnungen, Collagen, Kopien, Heftchen, Multiples, CDs, DVDs, verschiedene Drucktechniken etc. Die Box funktioniert als “Magazin in der Schachtel”, bietet aber ungeachtet des niedrigen Preises autonome und repräsentative Kunstwerke der teilnehmenden Künstler. Auflage: 100.

    Invited by: is a new edition first released in February 2013. Invited by: gathered a large number of contemporary artists who each contribute to a Editionsbox. The contributors are ever invited by a co-artist invited by: each curator.

    The box, in this premiere and A4, with contributions from 23 international artists, drawings, collages, prints, booklets, multiple, CDs, DVDs, various printing techniques, etc. The box contains functions as a “magazine in the box”, but despite offers the low price autonomous and representative works of the participating artists. Edition:100

    Künstler / Artists: Lutz BRAUN (D), Hanna BRANDES (D), Martin John CALLANAN (UK), Sunah CHOI (KOR/D), Raphael DANKE (D), Agathe FLEURY (F/D), Nina HOFFMANN (YU/D), Adrian HERMANIDES (ZW/D), Hella GERLACH (D), Simone GILGES (D), Atalya LAUFER (IL/D), Daniel LAUFER (D), Kalin LINDENA (D), Alexandra MÜLLER (D), Toony NAVOK (IL), Martin NEUMAIER (D), Thomas RENTMEISTER (D), Annette RUENZLER (D), Roman SCHRAMM (D), Gerda SCHEEPERS (ZA/D), Hanna SCHWARZ (D), Viola YEŞILTAÇ (D/USA)

    Invited by ist eine neue Editionsreihe von Provinz, zuerst veröffentlicht im Februar 2013. Invited by versammelt eine große Zahl an zeitgenössischen Künstlern, die je einen Beitrag zu einer Editionsbox leisten. Die Beiträger werden je von einem kooperierenden Künstler eingeladen, der invited by jeweils kuratiert.Die Box, bei dieser Premiere im Format A4 und mit Beiträgen von 22 internationalen Künstlern, enthält Zeichnungen, Collagen, Kopien, Heftchen, Multiples, eine DVD, verschiedene Drucktechniken etc. Die Box funktioniert als “Magazin in der Schachtel”, bietet aber ungeachtet des niedrigen Preises autonome und repräsentative Kunstwerke der teilnehmenden Künstler. Auflage: 100.

    Invited by is the first in a new series of editions made by Provinz, first released in February 2013. Invited by brings together a greater group of artists, who all contribute to a box of editions. With every round of invited by, the contributors are selected and invited by a cooperating artist, who curates the actual box. 

    The premiere box is of A4-format (roughly 21 x 31 cm) and contains contributions by 22 international artists. It comprises drawings, collages, copies, booklets, a DVD along with different printing techniques. The publication is conceived as a “magazine in a box”, yet it contains autonomous and representative artworks of the contributing artists at a notably low price. Edition: 100.

    Text Trends newspaper: Environmental

    Text Trends newspaper environmental

    The second issue of Text Trends newspaper, looking at environmental data, will be available in limited numbers from 14 January 2013 at The Open Data Institute.

    Over the past twenty years, global climate change has emerged as the overarching narrative of our age, uniting a series of ongoing concerns about human relations with nature, the responsibilities of first world nations to those of the developing world, and the obligations of present to future generations. But if the climate change story entered the public realm as a data-driven scientific concept, it was quickly transformed into something that the ecologist William Cronon has called a ‘secular prophecy’, a grand narrative freighted with powerful, even transcendent languages and values. And though climate science can sometimes adopt the rhetoric of extreme quantification, it also — as has been seen throughout this book — relies on the qualitative values of words, images and metaphors. This can even happen simultaneously: during the discussions that led up to the IPCC’s Third Assessment Report of 2001, for example, a room full of scientists discussed for an entire week whether or not to include the three-word phrase ‘discernable human influence.’ Only three words, perhaps, but three extremely potent words (both qualitatively and quantitavely speaking), that between them tell a vast and potentially world-altering story.

    Martin John Callanan’s ongoing Text Tends series offers a deadpan encounter with exactly this kind of quantification of language. Using Google data the series explores the vast mine of information that is generated by the search engine’s users, each animation taking the content generated by search queries and reducing the process to its essential elements: search terms vs. frequency of search over time, presented in the form of a line graph.

    In the online manifestation of the Text Trends animations the viewer watches as the animations plot the ebb and flow of a series of paired search terms keyed into Google over the last ten years by Internet users around the world. In the case of the environment sequence featured here, pairs of words such as: ‘nature’ — ‘population’; ‘climate’ — ‘risk’; ‘consensus’ — ‘uncertainty’; ‘Keeling curve’ — ‘hockey stick’, spool out matter-of-factly, like a live market index, allowing the implied narrative content of these word comparisons (along with their accumulated cultural and emotional baggage) to play themselves out before us. In contrast to the hyperinteractivity of emerging news aggregators and information readers, Text Trends explores our perceptions of words presented as connotation-rich fragments of continually updated time-sensitive data.

    As an investigation into both the generation and representation of data, Text Trends offers a visual critique of the spectacularization of information, a cultural tic that continues to generate the endless roll of statistically compromised wallpaper that surrounds so much public science debate, and which our book — Data Soliloquies — has in large part been about.

    Richard Hamblyn
    original version published in Data Soliloquies, UCL Environment Institute, 2009. ISBN 9780903305044

    ISSN 2051-6126
    ISBN 9781907829086

    Big photos of little coins: National Physical Laboratory

    National Physical Laboratory (NPL) wrote:

    Martin John Callanan of the Slade School of Fine Art at University College London contacted the National Physical Laboratory (NPL) as he wanted to put together an exhibition featuring large images of the lowest denomination coins from around the world.

    Petra Mildeova from NPL’s Advanced Engineered Materials Group demonstrated that full colour images could be taken using an infinite focus 3D optical microscope. Five coins were imaged (containing over 400 megapixels), allowing coins of less than 20 mm diameter to be printed as 1.2 m diameter images.

     

    Martin John Callanan described the images as “really stunning” and is exhibiting them at the Galleria Horrach Moyà in Mallorca, Spain, in an exhibition entitled ‘The Fundamental Units‘ (referring to the smallest denomination of coins on display and not as a result of working with NPL, the home of fundamental constants in the UK). He now hopes to enhance his exhibition by imaging a further 161 coins, one from each of the other countries around the world that use them.

     

    The images have attracted interest from the British Museum and were featured by New Scientist as their image of the day on 4 December 2012.

     

    The mapping of large areas at very high resolution is becoming a more regular requirement. In fact, the capabilities of the microscope used to produce the images of the coins were barely stretched, as they were only in 2D. Using the Alicona Infinite Focus optical microscope NPL is able to acquire 3D datasets from large areas, which can be used to study worn surfaces on a gear, drill bit or metal punch and hence produce a detailed measurement of the volume of material lost by wear of the component. Such quantified volume measurements can then be used to determine the best material or operating practice for a given material grade.

    MARTIN JOHN CALLANAN: Martin John Callanan, Horrach Moyà, Palma de Mallorca










    MARTIN JOHN CALLANAN: Martin John Callanan
    Horrach Moyà, Palma de Mallorca
    29 November 2012 – 17 January 17 February 2013 (extended one month)
    Opening, 8pm, 29 November 2012

    On May 16, 2008, Martin John Callanan changed his name to Martin John Callanan, by Deed Poll, sworn and sealed at the City of London Magistrate’s Court. On July 5, 2012, Martin John Callanan assumed the name of Martin John Callanan by Deed Poll, sworn and sealed by a Comissioner for Oath, and enrolled in the Supreme Court of Judicature. Through this action, at once absurd and totally in keeping with the laws of the United Kingdom, the artist Martin John Callanan (formerly Martin John Callanan) turns an administrative process into a reflexion on his own identity and the systems that validate the laws and institutions that govern our society.

    We live in a multitude of systems: natural systems that affect our environment, social systems that define the possible actions in the framework of an established community, computer systems that enable and control the transmission and storage of data with which we create our memory and the image of our world. They shape our everyday reality, but we tend to ignore their existence or assume it as an indisputable fact: as the clouds floating overhead, these systems respond to a logic that is largely out of reach of the average citizen.

    Through methodical and precise processes, Martin John Callanan explores the notion of citizenship in a globally connected world. The relationship between the individual and the systems that surround and affect our lives take shape in a series of works in which both the structures and the fragility of these systems are shown, sometimes by resorting to the absurd and the excess of information. The atworks in this exhibition at Horrach Moyà Gallery venture into the dynamics of natural, economic, administrative and mass media systems by means of an observation both on the cosmic and the microscopic level.

    Inspired by the forms of scientific data visualization, the artist made in A Planetary Order (Terrestrial Cloud Globe) a globe that only shows the position of the clouds during a second in February 2, 2009. This ephemeral map, made from hundreds of photographs from NASA satellites, is embodied in a sculpture created with a 3D printer and shown as an unattended object, an ignored finding, a fragile piece containing an unusual vision of our environment .

    The economic system, which has raised to such notorious prominence in recent years because of its obvious impact on our lives, is a complex structure whose functioning is increasingly necessary to understand and, as much as possible, to predict or even control. In this sense, and in response to the dominance of macroeconomics in the discourse of the media, the artist chooses a microscopic view of the world economy. The Fundamental Units, a series that begins with the works produced by Horrach Moyà Gallery for this exhibition, is an exploration of the lowest denomination coins from the world’s currencies using an infinite focus 3D optical microscope at the National Physical Laboratory in Teddington (UK). The images obtained with the microscope have been combined to form an extremely detailed large scale reproduction of the least valuable coins from Australia, Chile, the Euro, Myanmar and the Kingdom of Swaziland. In these images the humble metal acquires a planetary dimension and is displayed as the atoms that shape the global economy.

    The reality shown by the media consists in turn of its own units, the news covering the front pages of newspapers and circulated by television and radio, websites, blogs and social networks. The speed and density of the information flow that is generated in every corner of the planet and invades all communication channels exposes us to a saturation that paradoxically makes data illegible. I Wanted to See All of the News From Today deals with this excess of information by means of a web site that automatically collects the front pages of hundreds of newspapers around the world and displays them in a grid. From these data, the artist has produced a series of prints in which the pages of newspapers form a totemic picture of everyday life in the information society.

    Martin John Callanan completes this exhibition with Deed Poll, which is both the action taken in the process of change (or recovery) of his name on July 5, 2012 and the legal documents, canceled passport, letters and responses, official notice in the newspaper and other items related to this administrative procedure. Callanan thus adds to his analysis of the systems that determine the conditions of life in the societies and the planet we inhabit an action on a personal level, as an individual and citizen that participates (voluntarily and involuntarily) in the dynamics generated by these systems.

    Pau Waelder, Curator

    Texto en español (PDF)

    Reviews in El Mundo, Diario de Mallorca and Ultima Hora: PDF (Spanish)

    Text Trends newspaper series for the launch of The Open Data Institute

    To celebrate the launch of The Open Data Institute, a new series of Text Trends in newspaper form will be available for  from November 2012 to May 2013 at the ODI HQ in London, and added to their art collection:

    Semiconductor
    Stanza
    Benedikt Groß & Bertrand Clerc
    Ben Garrod
    Martin John Callanan
    Fabio Lattanzi Antinori
    La Société Anonyme
    Phil Archer
    Ellie Harrison

    Data is driving decisions that shape our daily lives: from friends to governments, we are becoming more reliant on connected data. Global opinion is increasingly communicated through data-driven visuals. Personal well-being, sentiment and influence are continually monitored through data-harvesting devices. Knowledge at all levels and on all topics can be handed to anyone, at any time. Open data is shaping our society.

     

    In curating the showcase for the ODI we wanted to select a range of works that would not just reflect different data sources, but that would challenge our understanding of what data is, and how it may affect and reflect our lives. We were privileged in the breadth of content and the quality of work that was submitted as part of the open call, allowing for scope to select works that could comment on, complement and challenge perceptions in a coherent collection. The works range from geomagnetic data visualisations, to wall painted cellular automata, to tabloid newspapers of search term trend graphs – all tangible interventions into the mass accretion of data around us.

     

    In Phil Archer’s work data comes from the depths of time, as symbolic representations of solar eclipses dating from 2137 BCE to 1991 CE are sketched in ultraviolet light. In contrast, ‘The SKOR Codex’ looks to preserve data for the distant future. The book, printed by La Société Anonyme, contains encoded binary information that has been carefully fabricated to last for over 1,000 years.

     

    The works span space as well as time, in ‘20Hz’, geo-magnetic storm measurements are taken from the Earth’s upper atmosphere, while ‘Metrography’ portrays the London Underground transit map as a spatial reality – data defining specious geography. In ‘Still Lifes and Oscillators 1’ the mistreatment of image data by reformatting, reducing, and regenerating, questions the representation of visual data as the ultra-processed image, as the final stable state from a cellular automata cycle is painted back onto the space it was captured from.

     

    Real-time environmental data is embodied in Stanza’s life-size sculpture assembled from computer components and acrylic slices of his own physique. In ‘Body 01000010011011110110010001111001’ the urban environment provides a dynamic flickering and clicking sentience to the otherwise inert structure, reflecting the personal level of influence data has on an individual, whereas Martin John Callanan’s ‘Text Trends’ reflects our actions en masse.

     

    Works by Ellie Harrison and Fabio Lattanzi Antinori embody the current global political environment that is in constant flux, barely noticed on a personal scale, but that potentially have significant consequences for each of us.

     

    As data becomes more accessible to artists, as it opens up for use as a raw material, we are seeing more of its integration into works that explore environmental socio-political and economic aspects of society. By utilising data in an experiential way, this selection of works pulls data out of the virtual domain and into our physical world. We hope the exhibition provokes discussion around what open data is, how it informs and affects us, and how we interpret it in a way that is meaningful.

     

    MzTEK worked with the ODI to encourage a broad spectrum of applicants, and in the interest of openness we will release the demographic data from the submission process.

     

    We would like to thank the ODI for all the support we have received, and for co-creating this with us.

    Finally, we would like to thank all of the artists involved for their thought provoking works and their professionalism in the production of this collection.

    Julie Freeman & Sophie McDonald, MzTEK, November 2012

    Some of the other artworks:

    Transactions

    TRANSACTIONS

    Transactions
    Curated by Marco Antonini & DETEXT

    Cancelled due to Hurricane Sandy
    Exhibition: November 8 – 30, 2012
    Opening Reception: Thursday November 8, 5-7pm

    At a time when traditional economics seem to be losing credibility, Transactions opportunely explores the lapse between economists’ representations of the world and our daily experience. Featuring works that deal with everyday transactions and systems of bureaucracy, the exhibition probes the wrong assumptions and flawed hypotheses of today’s neo-liberal model. But rather than simply challenge economic fallacies, Transactions reveals the political and poetic possibilities of such gaps, errors and miscalculations.

    Artists: A-153617 (Aníbal López), David Brooks, Martin John Callanan, Nemanja Cvijanovic, DETEXT, Caleb Larsen, Julien Previeux, Daniel Seiple & KUNSTrePUBLIK, Katarina Sevic, Santiago Sierra, Nedko Solakov and Nikola Uzunovski.

    Transactions was organized by independent curator Marco Antonini and artist and economist Raúl Martínez (DETEXT). It was previously presented at the CCEG (Centro Cultural de España en Guatemala) in Guatemala City and Galería Horrach Moyá in Palma de Mallorca.

    LeRoy Neiman Gallery, Columbia University School of the Arts
    310 Dodge Hall, 2960 Broadway (at 116th Street), (212) 854-7641
    Gallery Hours: Mon – Fri, 9am to 5pm
    Closed on Saturday and Sunday

    Whitstable Biennale: Small for a reason

    Tea & Times is a café-cum-newsagents on Whitstable’s charming high street. It is also one of four venues where visitors to the Whitstable Biennale can collect Wars During My Lifetime, the free newspaper by Martin John Callanan that lists all the wars that have taken place between 1982 and 2012. Last weekend, a town crier read out the list; this Saturday and Sunday, as the Biennale comes to a close, there will be a host of performances exploring the connections between movement, ritual and ideological manifestations.

    There is Emma Hart’s 3D game featuring trapped puppets; Jesse Jones’ re-creation of a 1960s group session with a trained humanist therapist, and for those parents who happen to have a good excuse, there might just be the chance to view Gareth Moore’s film programme commissioned exclusively for children.

    Uniquely for a biennale, Whitstable commissions predominantly performance, context and time-based work, and the direction is driven by where each selected artist’s work is at that specific point in time. Sue Jones, the Biennale’s director explains that “although we don’t impose themes on to the festival, we often notice that there are themes which thread their way through the work, relating to current concerns or areas of interest that artists share. Last year it came about that a lot of works were investigating archives.”

    The festival is based on a dialogic curatorial relationship between the artists and the work, evidenced in particular by Jeremy Millar’s exhibition of four distinct works by Maya Deren, Shezad Dawood, Derek Jarman and Joachim Koester. The juxtaposition of seminal and contemporary films based on ritual and dance add to the readings of each work, with Dawood’s soundtrack providing an inescapable framework to re-interpret each one.

    This welcome curatorial intervention brings to the surface our recent national celebrations, as Jarman’s book and flag burning from Jordan’s Dance (1977) foregrounds Dawood’s tribal rhythms. We are reminded as we watch Deren’s mesmerising Ritual in Transfigured Time that she was about to embark on a real-life journey to become a Vodoun priestess, bringing to the fore the connection between an artist’s work and their life trajectories.

    The importance of context

    The context of Whitstable, a small seaside town, is also a decisive factor in the programme direction. The scale of the town means that the Biennale is characterised by work that adapts to small venues and inserts itself within the fabric of the place. With venues being available, at times for only a couple of days, the festival has an ever-changing programme, giving it a dynamism that longer running biennales often seek to engineer through symposia and off-site programmes: “We want to remain a small festival so that we can concentrate on working closely with the artists we commission,” explains Jones.

    Reflecting the Biennale’s size, there’s an emphasis on nurturing strong relationships with emerging British artists and seeking a depth to the work it commissions and premieres. Kate Phillimore, assistant curator and organiser of the Biennale’s fringe, explains: “We have a big satellite programme, it’s an open platform, and we really try to encourage artists to create a project embedded in Whitstable. We also support artists from the area, for instance in the lead up by organising a group trip to Bristol or by hosting the a-n AIRTIME event.”

    The high calibre of the Kent artistic community is demonstrated by the many Whitstable Satellite artists I encounter later that afternoon at the AIRTIME event. I chat to Magz Hall, a founding producer of Resonance FM who is completing a PhD on Radio Art. Her long-term research project sets out a number of fictional hypotheses about the future of FM once it has been abandoned by broadcasters. Babble Station is one of these future unsanctioned stations, using the airwaves for baby monitoring. This Sunday, Hall will be running an all-day drop-in workshop, sampling baby sounds and playing them back via a solar radio.

    Sue Jones describes how Whitstable, with its close proximity to London, has always had a strong artists community. The Biennale came out of an artist-led festival that took place in the 1990s and was taken over in 2000 by Canterbury City Council, before Jones took over the reins in 2006. The Biennale is now an independent entity but, says Jones, “we haven’t lost the roots of there being an artists festival in Whitstable.”

    Pippa Koszerek, AN

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