#tidalectic

[fatehbaz]

Organizing more notes. Some recent-ish books on German colonialism and imperial imaginaries of space/place, especially in Africa:

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German Colonialism in Africa and its Legacies: Architecture, Art, Urbanism, and Visual Culture (Edited by Itohan Osayimwese, Bloomsbury Publishing, 2023)

An Imperial Homeland: Forging German Identity in Southwest Africa (Adam A. Blackler, Penn State University Press, 2023)

Coconut Colonialism: Workers and the Globalization of Samoa (Holger Droessler, Harvard University Press, 2022)

Colonial Geography: Race and Space in German East Africa, 1884-1905 (Matthew Unangst, University of Toronto Press, 2022)

The Play World: Toys, Texts, and the Transatlantic German Childhood (Patricia Anne Simpson, 2020)

Learning Empire: Globalization and the German Quest for World Status, 1875-1919 (Erik Grimmer-Solem, Cambridge University Press, 2019)

Violence as Usual: Policing and the Colonial State in German Southwest Africa (Marie A. Muschalek, 2019)

Revenants of the German Empire: Colonial Germans, the League of Nations, and Imperialism (Sean Andrew Wempe, 2019)

Rethinking Black German Studies: Approaches, Interventions and Histories (Edited by Tiffany Florvil and Vanessa Plumly, 2018)

German Colonial Wars and the Context of Military Violence (Susanne Kuss, translated by Andrew Smith, Harvard University Press, 2017)

Colonialism and Modern Architecture in Germany (Itohan Osayimwese, University of Pittsburgh Press, 2017)

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German Colonialism in a Global Age (Edited by Bradley Naranch and Geoff Eley, 2014) Including:

"Empire by Land or Sea? Germany's Imperial Imaginary, 1840-1945" (Geoff Eley)

"Science and Civilizing Missions: Germans and the Transnational Community of Tropical Medicine" (Deborah J. Neill)

"Ruling Africa: Science as Sovereignty in the German Colonial Empire and Its Aftermath" (Andrew Zimmerman)

"Mass-Marketing the Empire: Colonial Fantasies and Advertising Visions" (David Ciarlo)

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German Colonialism and National Identity (Edited by Michael Perraudin and Jurgen Zimmerer, 2017). Including:

"Between Amnesia and Denial: Colonialism and German National Identity" (Perraudin and Zimmerer)

"Exotic Education: Writing Empire for German Boys and Girls, 1884-1914" (Jeffrey Bowersox)

"Beyond Empire: German Women in Africa, 1919-1933" (Britta Schilling)

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Advertising Empire: Race and Visual Culture in Imperial Germany (David Ciarlo, Harvard University Press, 2011)

The German Forest: Nature, Identity, and the Contestation of a National Symbol, 1871-1914 (Jeffrey K. Wilson, University of Toronto Press, 2012)

The Devil's Handwriting: Precoloniality and the German Colonial State in Qingdao, Samoa, and Southwest Africa (George Steinmetz, 2007)

[slinklove]

some studio upd8s ~ finally took down the cheating tapestry I had conquering half my studio….put these two canvases I 1. my bff was throwing it out in her move from her first solo apartment & 2. found in the trash can in the meeting hall our my MFA studio space -the annex.

played with ai art with the words ‘palimpsest princess portrait’ and used two different reference photos. 2. A selfie in bushwick bar mirror & 1. The line work of my new painting, which is also the landscape innnn

the polycam -ar- scan that I’m playing with and turning it into an recognizable environment or SPACE.

[solosol]

thank u @frank-pool for tagging me in this to list 10 songs I’ve been listening to on repeat. gonna tag some mutuals too!!

1. Antidote - Taylor Mcferrin and Nai Palm

2. Like it is - Yusef Lateef

3. Something out of nothing - joomanji

4. Envious - Sault

5. Theme from Kings Heroine - The J.B’s

6. Crush - Jai Paul

7. Hideous Towns - The Sundays

8. Check 4 u - Bo’Vel

9. Mercy Mercy (The Ecology) - Marvin Gaye

10. Submerge: Till we become the sun - Maxwell

@sheis-dead @elipticherries @tidalectics @nonbinarypussy @gothluv

[loneberry]

Like the movement of the ocean she’s walking on, coming From continent/continuum, touching another, and Then receding (‘reading’) from from the island(s) into the perhaps Creative chaos of the(ir) future 

– Kamau Brathwaite, ConVERSations with Nathaniel Mackey

[kunthug]

A key thinker of creolization, Brathwaite makes us aware that hybridization is not restricted to land, but begins in maritime spaces and at the coast. Just like navigators who land at a new shore, bringing with them their living and constantly shifting stories, myths, and beliefs, the concept of Tidalectics can migrate from its original context in Brathwaite’s writing to other geographies and realms. The exhibition carefully transfers the term, mindful not to obscure its specificity but considering the notion as starting point for an oceanic worldview. Tidalectics merges the anchored with the itinerant and moves back and forth between being waterborne and touching land. It allows us to think of hybridity, cross-cultural syncretism, incompleteness, and fragmentation. The influence of the ocean is not restricted to the waters and aquatic beings, it affects land and terrestrial life just as much—as a source of food and as a threat when sea levels rise. The exhibition seeks to comprehend our histories as trajectories tossed by waves, from ocean crossings to systems of exchange, myths, and microbial origins. It highlights processes of cultural adaptation and material change, presenting a rich framework for understanding the coalescing polarities of contemporaneity and history, science and poetics, the global and the local, routes and roots, and ourselves with the oceans and their many and diverse inhabitants.

Vía

[pairedaeza]

Diasporic discourses often position masculine subjects as normative travelers who rely upon a feminized sea in order to imaginatively regenerate across time and space. This is why, in the language of diaspora and globalization, masculinized trajectories of nomadic subjects and capital attain their motility by invoking feminized flows, fluidity, and circulation, while the feminine (as an organizing concept) and women (as subjects) are profoundly localized.

Elizabeth DeLoughrey, from Routes and Roots

[fancy-a-dance-brigadier]

I'd love to hear more about 'Hearts in Orbit' or 'Time and Tide'!

And I shall tell you about both <3

'Hearts in Orbit' is my Jezri fix-it-fic. Basically, I'll write one chapter for every episode of season 7 - sometimes it'll be rewritten scenes from the show, sometimes it'll be something completely new. I hope to make their relationship seem a bit more believable and less like it came completely out of nowhere. I also want to explore aspects of Jezri that really fascinate me, particularly the idea that they both are who they are because of something that was done to them against their will, and the fact that they both have the potential to be Very Dangerous people but they desperately don't want to be. I'm also going to take it as an opportunity to be self-indulgent and rewrite certain aspects of season 7 that I didn't like, particularly the episode 'Extreme Measures'.

'Time and Tide' is a Siskoshir oneshot that stems from a concept called tidal memory, which I learned about in one of my uni classes this year. Tidal memory comes from Kamau Braithewaite's contribution to the book 'Tidalectics', and basically he theorises that memory is like the tide - it comes in and goes out, bringing something different with it every time. I felt like that idea would really fit the themes of non-linearity that's so present in the Siskoshir relationship, and so 'Time and Tide' is my attempt at implementing that. I'm going to rewrite a scene from 'Past Tense' four different times, and they'll all be different because Ben is remembering it during different stages of his life. It's not finished yet, but I've made a start - so here's a snippet!

His reassurance falls on deaf ears - Bashir remains sullen, silent, his compassionate core revolting against the images of pure inhumanity he has seen today. Innocent people starving on the streets, the mentally ill deprived of the help they need, white-collar workers who do not give a damn about the people they tread under their shiny black shoes. He is a doctor fresh from utopia - such abject disregard for the sanctity of life alarms him, and Benjamin can read his repugnance as though it was carved into the skin of his face. His face which, if Benjamin is totally honest with himself, he has always found rather charming. Perhaps even beautiful. Yes, most definitely beautiful. 

He knows it is not the right time to think of such things - not the right time to think of anything at all, for he now lives in a time he was never meant to exist in. And yet there he is, in the twenty-first century, marvelling at the unadulterated beauty of Doctor Bashir. He does not know why he thinks of him as such now, when he has been so easily able to compartmentalise his latent attraction in the past. Even this morning, as they waited for the office workers to assign their fate in the Sanctuary District, he saw Bashir as merely his subordinate officer - a companion, certainly, and one he was glad to have, but an officer in his command nevertheless.

But now Bashir is beautiful. Perhaps it is the way his anger lights up all the flecks of gold in his hazel eyes, perhaps it is the light touch of stubble that now grazes his jaw, perhaps it is the slender cut of his figure in that familiar, far away uniform. Or perhaps it goes beyond the physical - for Bashir cares so very very much about the people that surround him, his beating heartbreaking for complete strangers, itching to break all the temporal rules and utilise all his medical miracles to alleviate the suffering of this generation. Benjamin has always been attracted to action, to people who do the right thing in the face of stifling rules, to people who guide themselves via a compassionate compass. And in this moment - this very inappropriate moment - all those traits have intermingled in Bashir to create a man that makes Benjamin’s heart thud far quicker than it ought to. 

[liammooneyminor]

LASER TALK: Tidalectic Rhythms

Talking about water or wai and how you relate it to wairua, we are all water, female and male both coming together to create ourselves. 

Marae ar AUT, the name of it looks at the waters which flow through under queen street, capturing and distributing into many different waterways. 

Taniwha, the entity: Kaitiaki. 

Tangaroa is the sea.

Listening to the Voices of our Harbour: MARAMA MURU-LANNING 

Manukau Harbour 

Whangarei, Manukau, Kawhia (Harbour sites)

James Henaré Research Centre - further investigation 

The way in which women are extremely influential in the conversations of the water/land. 

Being seen having a real stand and signposting women who are doing things for Harbour spaces. 

Kaitiaki-tanga 

Increasing at neo-liberalist and colonial

Evolution and the impact of law and politics on harbours. 

Aotearoa harbours have always been important places. 

Social exchanges - etc...

Relationships with communities in Waikato and Auckland in order to form social change, ethically. 

Getting permission - relationships are formed through connections and whakapapa. 

Deconstruct the things in which the crown has done. 

Fit the agenda. 

Nicholas Vigar - (Auckland Council and SAFESWIM)

Managing public health

Water quality / related issues.

Auckland Council cannot get away from this so that is why he has used council images and hasn't taken away the logo because that would go against what he stands for. 

The health of the harbour is through the use of the land and how it is used. 

Points in our history which have contaminated our harbours. 

Takes in the waste of 75,000 people 

Ihumaatao - out of from 1975-2000

Dye spill.

The harbour is technically a sink for sediment rise in numbers. 

Sea level rises and how they are affecting the landfills. 

Complicating things - a whole new raft of issues for things that aren’t stable anymore. 

Sediment, coming off the land into the harbour is crazy. The quality and quantity of sediment is very significant to the harbours. 

Phosphorus levels are crazy high, affecting the seawater which also comes into natural water. 

Going past the levels in which New Zealand already has set in place. 

Public health narrative.

Public health risk situations in which you may not be able to swim or having high risks. 

Kariotahi Beach

Places of higher risks are freshwater.

Public health risks on Manukau harbour, it is not human harming, usually of a load of fecal matter in the water is from the birds. 

The natural level of risk 

Complex risks which are connected to Sarah’s works, don’t think there will be any. 

29th March Manukau Harbour

36.5 / Sarah Cameron Sunde

Series of 9 performances starting in New York

Create the performance from the ground up - literally. 

Created the project over the past 6 years, 

Hurricane Sandi - flooded her city (urban area)

Relook, how we were living with the water. 

Tides are a metaphor for environmental change. 

Impulsive/poetic response. 

Maine, 2013 #1 performance 

Feeling alive after the performance - looking up at the moon and look out at the water (a sensory experience) 

Mexico #2 work 

Performance, intervention

Each hour there is a performance aspect.

Climate refugees. 

It is really hard, the struggle of the performance is the whole point of it and, the struggle of it. 

DURATIONAL PERFORMANCE WITH THE SEA.

Multi-channel (Te Uru Gallery)

Slow-editing of the video, showing the way in which these works explore so many different viewpoints, issues that arise. 

Cyclical relationship in which ‘Tidalectic Rhythms’

The combination of all these different opinions, perspectives, and viewpoints, especially from the different speakers and comparing and see cross overs but also a distinct difference. 

Q/A 

Way freshwaters are polluting and how it is affecting the saltwater of the harbours.

Water quality is the bigger issue and questions which need answering 

A visual image is open to interpretation.

The power of the work is in the embodied experience, to feel the change and their relationship with the water. 

“Image that is provocative.”

Personal time. MICRO AND THE MACRO

The connection across the surface of our globe. 

Water is a connector, especially the way in which the pacific context has on a very western context. 

Resonance of the connection of the water.

How we can use this performance to elevate and fight together in order to bring voices together to be heard. 

Using the artistic concept and idea in order to inform such a political and ecological idea. 

The notion of personhood. 

How can artistic projects, inform further change, etc. 

Need for the river to be looking after itself. 

Legal personhood. 

Waikato River Authority. 

Why do we need to give something personhood??

LASER TALK, Tidalectic Rhythms, March 6, 2020, AUT, WG404.

[fatehbaz]

was thinking about this

To be in "public", you must be a consumer or a laborer.

About control of peoples' movement in space/place. Since the beginning.

"Vagrancy" of 1830s-onward Britain, people criminalized for being outside without being a laborer.

Breaking laws resulted in being sentenced to coerced debtor/convict labor. Coinciding with the 1830-ish climax of the Industrial Revolution and the land enclosure acts (factory labor, poverty, etc., increase), the Metropolitan Police Act of 1829 establishes full-time police institution(s) in London. The "Workhouse Act" aka "Poor Law Amendment Act of 1834" forced poor people to work for a minimum number of hours every day. The Irish Constabulary of 1837 sets up a national policing force and the County Police Act of 1839 allows justices of the peace across England to establish policing institutions in their counties (New York City gets a police department in 1844). The major expansion of the "Vagrancy Act" of 1838 made "joblessness" a crime and enhanced its punishment. (Coincidentally, the law's date of royal assent was 27 July 1838, just 5 days before the British government was scheduled to allow fuller emancipation of its technical legal abolition of slavery in the British Caribbean on 1 August 1838.)

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"Vagrancy" of 1860s-onward United States, people criminalized for being outside while Black.

Widespread emancipation after slavery abolition in 1865 rapidly followed by the outlawing of loitering which de facto outlawed existing as Black in public. Inability to afford fines results in being sentenced to forced labor by working on chain gangs or prisons farms, some built atop plantations.

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"Vagrancy" of 1870s-onward across empires, people criminalized for being outside while being "foreign" and also being poor generally.

Especially from 1880-ish to 1918-ish, this was an age of widespread mass movement of peoples due to the land dispossession, poverty, and famine induced by global colonial extraction and "market expansion" (Scramble for Africa, US "American West", nation-building, conquering "frontiers"), as agricultural "revolutions" of imperial monoculture cash crop extraction resulted in ecological degradation, and as major imperial infrastructure building projects required a lot of vulnerable "mobile" labor. This coincides with and is facilitated by new railroad networks and telegraphs, leading to imperial implementation or expansion of identity documents, strict work contracts, passports, immigration surveillance, and border checkpoints.

All of this in just a few short years: In 1877, British administrators in India develop what would become the Henry Classification System of taking and keeping fingerprints for use in binding colonial Indians to legal contracts. That same year during the 1877 Great Railroad Strike, and in response to white anxiety about Black residents coming to the city during Great Migration, Chicago's policing institutions exponentially expand surveillance and pioneer "intelligence card" registers for tracking labor union organizing and Black movement, as Chicago's experiments become adopted by US military and expanded nationwide, later used by US forces monitoring dissent in colonial Philippines and Cuba. Japan based its 1880 Penal Code anti-vagrancy statutes on French models, and introduced "koseki" register to track poor/vagrant domestic citizens as Tokyo's Governor Matsuda segregates classes, and the nation introduces "modern police forces". In 1882, the United States passes the Chinese Exclusion Act. In 1884, the Ottoman government enacts major "Passport Nizamnamesi" legislation requiring passports. In 1885, the racist expulsion of the "Tacoma riot".

Punished for being Algerian in France. Punished for being Chinese in San Francisco. Punished for being Korean in Japan. Punished for crossing Ottoman borders without correct paperwork. Arrested for whatever, then sent to do convict labor. A poor person in the Punjab, starving during a catastrophic famine, might be coerced into a work contract by British authorities. They will have to travel, shipped off to build a railroad. But now they have to work. Now they are bound. They will be punished for being Punjabi and trying to walk away from Britain's tea plantations in Assam or Britain's rubber plantations in Malaya.

Mobility and confinement, the empire manipulates each.

---

"Vagrancy" amidst all of this, people also criminalized for being outside while "unsightly" and merely even superficially appearing to be poor. San Francisco introduced the notorious "ugly law" in 1867, making it illegal for "any person, who is diseased, maimed, mutilated or deformed in any way, so as to be an unsightly or disgusting object, to expose himself or herself to public view". Today, if you walk into a building looking a little "weird" (poor, Black, ill, disabled, etc.), you are given seething spiteful glares and asked to leave. De facto criminalized for simply going for a stroll without downloading the coffee shop's exclusive menu app.

Too ill, too poor, too exhausted, too indebted to move, you are trapped. Physical barriers (borders), legal barriers (identity documents), financial barriers (debt). "Vagrancy" everywhere in the United States, a combination of all of the above. "Vagrancy" since at least early nineteenth century Europe. About the control of movement through and access to space/place. Concretizing and weaponizing caste, corralling people, anchoring them in place, extracting their wealth and labor.

You are permitted to exist only as a paying customer or an employee.

[anarchist-caravan]

"Curators Heidi Ballet and Stefanie Hessler have both been doing curatorial research on oceans in the past years. Ballet curated the Satelliteexhibition series at Jeu de Paume, Paris and CAPC Bordeaux in 2016 under the title “Our Ocean, Your Horizon” in which she focused on the historical construct of oceanic territory as a non-space in terms of sovereignty, inspired by Fiji scholar Epeli Hau’ofa. Hessler is curator of The Current, a research project that investigates human impact on the oceans and ecology, and is preparing an exhibition at TBA21-Augarten inspired by Caribbean writer Kamau Brathwaite’s concept of “tidalectics,” a fluid alternative to the dialectics that are said to define Western thinking. Together they discuss how the recurring theme of water and oceans in today’s exhibitions could be indicative of new ways of thinking that emphasize formlessness and fluctuation as part of new readings of the world that escape rigid classification."

[starsbegantofall]

in response to current events in the US, saving some links here for any of my followers who have not seen these threads on twitter yet. 

signing the online petitions and retweeting without commentary verified threads are things everyone can do, try to donate and achieve a real life result are things to strive for, but most importantly, do not forget and do not give up, keep the momentum going!

verified google doc list of all relevant bail funds and fund drives, petitions, resources, and protest advice

https://twitter.com/botanicaldyke/status/1266395798637621251?s=20

questions to non-black followers to ask themselves

https://twitter.com/tidalectics/status/1258805548209901569?s=20

non-optical allyship - definition

https://twitter.com/mireillecharper/status/1266335563197501440?s=20

riot medicine

https://twitter.com/hakan_geijer/status/1260121794587037696?s=20

support black-owned businesses

https://twitter.com/seauxalexia/status/1265349518616297472?s=20

[watchilove]

Swiss Haute Horlogerie Manufacture Audemars Piguet celebrated the unveiling of The Art of Listening: Under Water, a new public site-specific sound composition by Norwegian contemporary artist Jana Winderen during Art Basel in Miami Beach. Located in the Collins Park Rotunda, the installation brings awareness to the ocean’s increasingly fragile ecosystem and represents the artist’s most recent investigation on the environmental impact of human-created sounds on our planet.

Art Basel Jana Winderen

Audemars Piguet marked the celebration of the artwork’s debut in the Collins Park Rotunda with a private press walkthrough and intimate brunch. Led by Susan Simmons, Audemars Piguet Foundation’s General Secretary and Audemars Piguet Associate Curator Denis Pernet, the walkthrough provided guests with an inspiring insight into the Manufacture’s collaboration with Winderen and the latest resultant work, which was completed onsite in Miami by intermixing sounds from local waterways and undersea life. Visitors experienced the work first-hand by listening to the recorded sounds of the oceanic environment and reflecting on the ways in which human activity is constantly interfering with this delicate ecosystem.

Jana Winderen recording

The composition discloses sounds specific to the Miami harbour area, the Barents Sea and the Tropical Oceans exposing the constant presence of human noise that pervades these oceanic environments. The work was produced in conjunction with long-time collaborator Tony Myatt and is free and open to the public throughout Miami Art Week.

Jana Winderen recording

The Art of Listening: Under Water bears strong resonance with a theme present in many of Audemars Piguet’s artistic projects, raising environmental awareness around the world. When asked about her interest in working beneath the surface of the water to source sounds for her compositions, Winderen replied: “I have always been drawn to the underwater environment since I was quite young. There is so much life and activity within it, almost all of which is entirely inaccessible to humans. Recording these sounds offers a way to understand the plants and animals beneath the ocean as well as how these life forms respond to the inescapable human activities which surround them. When you listen to the composition, it’s impossible to decipher the difference between the two, the natural and unnatural, which I hope brings pause and contemplation.”

Jana Winderen

Additionally, Audemars Piguet presented Du Petit Risoud aux profondeurs du Lac de Joux in this year’s Collectors Lounge at Art Basel in Miami Beach, Winderen’s first site-specific commission for Audemars Piguet which followed a two-part residency in the Vallée de Joux in early 2019. The work, which made its debut at Art Basel in Basel (June 2019), also examines the human impact on our environment, bringing listeners on a journey through the unique ecosystem of this remote valley by uncovering the heightened sound of civilisation heard throughout the surrounding forests and the depths of the Lac de Joux.

Jana Winderen

The Lounge also represented the latest chapter in Fernando Mastrangelo’s collaboration with Audemars Piguet. Mastrangelo first unveiled his Lounge design during Art Basel in Hong Kong (March 2019), evolving the project for this year’s edition of Art Basel in Miami Beach by displaying bespoke furniture, design cases and walls inspired by the natural landscape of the Vallée de Joux, precisely crafted after his visit to this mountainous region.

Art Basel Miami Beach Lounge

Both Winderen’s and Mastrangelo’s commissioned works presented in Miami Beach provided viewers with intimate glimpses into the multitude of ways in which artists creatively interpret the world around us.

“To break the rules, you must first master them.”

About Jana Winderen

Jana Winderen

Norwegian sound artist Jana Winderen takes her audience on immersive and sensory journeys through our environment. By revealing the small and most inaccessible sounds of our environment, the artist appeals to listeners’ emotions, hoping to gain their interest in and respect for our complex world, while raising ecological awareness. Winderen has graduated from the Fine Art programme at Goldsmiths, University of London and has a background in mathematics, chemistry and fish ecology from the University of Oslo. Since 1992, sound has been at the core of her artistic practice, leading her to travel across Europe, Asia and the Americas to record audio environments and ecosystems hard for humans to access physically and aurally.

Jana Winderen

For the last 14 years, Winderen has used high-precision and high-quality hydrophones, microphones and ultrasound detectors to record sound from fish, crustaceans and mammals, as well as inaudible sounds such as ultrasounds lying above the range of human hearing, gathered in oceans, rivers, lakes or in other environments inaccessible to the human ear. Winderen uses these natural sounds as source material to compose sound collages for immersive multi-channel sound installations, live concerts, as well as soundtracks for film and dance performances. She releases her work on vinyl, CDs, cassettes and as digital downloads.

Jana Winderen

Her sound work has been performed in major institutions and public spaces worldwide. Her current projects include the composition Listening with Carp exhibited at Now is the Time – Wuzhen International Art Exhibition in China, as well as Through the Bones presented at the Thailand International Art Biennale in Krabi (2018–2019).

Jana Winderen

Her multi-channel audio installation Bára, a commission by TBA21–Academy, was shown in 2018 at the exhibition Oceans: Imagining a Tidalectic Worldview, Dubrovnik Museum of Modern Art and at Le Fresnoy: Studio national des arts contemporains. It was also presented as part of Tidalectics, Augarten in Vienna in 2017. Other recent work includes Raft of Ice a permanent temperature interactive sound installation for the US Embassy in Oslo (2018); Spring Bloom in the Marginal Ice Zone: From the Barents Sea to Lake Ontario for work of WIND AIR LAND SEA in Toronto (2018); Rats – Secret Soundscapes of the City, commissioned by the Munchmuseum on the Move/NyMusikk in Oslo (2017); Transmission, commissioned by the V-A-C Foundation for Geometry of Now, Moscow (2017); and Spring Bloom in the Marginal Ice Zone, a commission for the Sonic Acts Festival (2017), among others. The Kunstnernes Hus in Oslo dedicated an important monographic exhibition to Winderen’s research in collaboration with Tony Myatt, Rungrueng Ramanyah and Palin Ansusinha, from June to August 2019.

Winderen was the recipient of the Golden Nica, Prix Ars Electronica for Digital Musics & Sound Art in 2011. Her work is published by the London-based label Touch, alongside artists including Oren Ambarchi, Fennesz, Phill Niblock, Hildur Gudnadottir. http://www.janawinderen.com/

About Fernando Mastrangelo

Fernando Mastrangelo is a Brooklyn-based, contemporary artist specialising in sculpture, furniture, architecture and interior design. Inspired by landscapes, people and politics, his sculptural work experiments with forms, materials and content to create a universe in which nature, textures and the human condition are layered and interconnected. Seeing his work as a “relic for our time,” Mastrangelo repurposes natural granular materials like sand, salt and silica, while often addressing ecological issues. Each piece’s form is influenced by the material used and its geographic origins.

Art Basel Miami Beach Lounge

Mastrangelo received his Bachelor of Fine Arts from the Cornish College of the Arts in Seattle in 2002 and completed his Master of Fine Arts in Sculpture in 2004 at Virginia Commonwealth University in Richmond. After his studies, Mastrangelo worked in collaboration with Matthew Barney, before launching his own design studio, now known as FM/S. Located in Brooklyn, his studio has grown over the years to experiment with painting, sculpture, furniture, architecture and interiors, and presents a variety of mediums and collections.

His group and solo works have been exhibited in numerous art fairs and venues including the Collective Design Fair, NYCxDesign, the Sight Unseen Office, the Salone del Mobile in Milan, Art Genève in Switzerland, Art Basel in Miami Beach, the Brooklyn Museum, the Mendes Wood Gallery, the Mike Weiss Gallery, the Neuberger Museum, and the Rossana Orlandi Gallery in Milan. In 2017, with the next generation of makers in mind, Mastrangelo launched a non-profit organisation, In Good Company, with an annual group exhibition that honours the spirit of creativity by providing a platform for emerging artists and designers to exhibit their work without commercial or creative restraint. To learn more about In Good Company please visit http://www.igc.design.

About Audemars Piguet

Audemars Piguet is the oldest fine watchmaking manufacturer still in the hands of its founding families (Audemars and Piguet). Since 1875, the company has written some of the finest chapters in the history of Haute Horlogerie, including a number of world firsts. In the Vallée de Joux, at the heart of the Swiss Jura, numerous masterpieces are created in limited series embodying a remarkable degree of horological perfection, including daring sporty models, classic and traditional timepieces, splendid ladies’ jewellery-watches, as well as one-of-a-kind creations.

www.audemarspiguet.com

About Audemars Piguet and Art

Pursuing its commitment to craft, creativity and innovation, Audemars Piguet formed a partnership with Art Basel in 2013, supporting the world’s premier contemporary art shows in Hong Kong, Basel and Miami Beach. Since then, Audemars Piguet has presented innovative Lounge concepts and artworks at all three Art Basel shows, inviting artists to creatively interpret its heritage and origins.

Audemars Piguet Innovative Lounges

For Audemars Piguet’s inaugural Art Basel Lounge, French designer Sébastien Leon Agneessens created Between Now and Then, an environment that introduced visitors to Audemars Piguet’s place of origin, Le Brassus. Mathieu Lehanneur’s 2014 Lounge concept Mineral Lab explored the themes of technology versus nature. Starting in 2016, Sebastian Errazuriz’s dynamic, immersive Lounge designs complemented Audemars Piguet’s presentation at each Art Basel show. The trilogy of Lounge concepts were inspired by three core natural materials native to the Vallée de Joux — ice (Ice Cycle, 2016), wood (Second Nature, 2017), and ore (Foundations, 2018).

Origins Projects

Since the formation of the partnership in 2013, Audemars Piguet has developed and presented collaborations with artists and designers in the Manufacture’s Collectors Lounge at all three Art Basel shows. The displayed artworks and the spaces in which they are presented reflect on Audemars Piguet’s sense of deep-rooted history, its connections with nature and commitment to creativity, innovation and independence. Audemars Piguet commissions annual Origins projects whereby artists create works that offer their own, highly personal interpretations of the company’s cultural and geographical origins. These projects testify to the fertile dialogue between two distinct areas of creative endeavour—contemporary art and Haute Horlogerie—and are emblematic of the company’s deeply held values.

Audemars Piguet first commissioned the photographic works by British photographer Dan Holdsworth in 2012. At Art Basel in Hong Kong 2014, Audemars Piguet unveiled a new panoramic film, Measure, by Austrian videographer Kurt Hentschläger. In 2015, Audemars Piguet presented an eco-wall of living moss combined with a sound installation titled Wild Constellations by Geneva-based artist Alexandre Joly. In 2016, Audemars Piguet hosted an exhibition titled To Break the Rules, You Must First Master Them, installed within the Yuz Museum of Contemporary Art in Shanghai for which French designer Mathieu Lehanneur created a temporary space which explored the rich history of the brand. The exhibition, which featured more than 200 watches, was complemented by an original video-work titled Circadian Rhythm by Chinese artist Cheng Ran. This was subsequently presented at Audemars Piguet’s Lounge at Art Basel in Miami Beach in 2017. Remains: Vallée de Joux, a series of ultra-high resolution prints interpreting Audemars Piguet’s origins, was presented on the Lounge at Art Basel in 2018. For Art Basel in Miami Beach 2018, Quayola also presented Promenade, a film which explores the logic and aesthetics of autonomous vehicle computer-vision systems as a drone flies through the secluded forests of the Vallée de Joux.

The Audemars Piguet Art Commission

At the crux of Audemars Piguet’s involvement with the arts is the Audemars Piguet Art Commission. The Commission, announced in May 2014, draws inspiration from the craftsmanship and technical excellence inherent in Audemars Piguet’s legacy of watchmaking. For each Commission, an artist-curator duo is selected to realise a new artwork which explores complexity and precision, while enlisting contemporary creative practice, complex mechanics, technology and science. By inviting artists to push the limits of technical virtuosity and scientific ingenuity, the Art Commission explores the link between the traditions of Haute Horlogerie and Art. Recipients are given carte blanche to realise their project. Audemars Piguet provides full financial support for each Commission, in addition to the specialised expertise required.

The first Commission, unveiled at Art Basel 2015, was created by Swiss artist and composer Robin Meier and curated by Marc-Olivier Wahler. Synchronicity explored the underlying mathematical rules of self-organisation among seemingly unrelated components: fireflies, computers, crickets, sounds and electromagnetic pendulums. In 2016, Ruijun Shen curated Chinese artist Sun Xun’s Reconstruction of the Universe, a large-scale immersive bamboo installation and 3D film, comprised of tens of thousands of hand-carved woodblocks, unveiled at Art Basel in Miami Beach. The following year, Los Angeles-based, multidisciplinary artist Lars Jan was selected for the third Art Commission. His large-scale installation Slow-Moving Luminaries, curated by Kathleen Forde, was also presented on the oceanfront at Art Basel in Miami Beach 2017 and explored topics of oscillations, including time, memory and the changing climate. At Art Basel 2018 in Basel, Semiconductor (Ruth Jarman and Joe Gerhardt) presented HALO, curated by Mónica Bello in collaboration with the CERN. Taking the form of a large cylinder, this work was illuminated and enveloped in the sound produced by data from particle-collision experiments taking place at the CERN.

  Art Basel Jana Winderen

Unveiling of The Art of Listening: Under Water. Courtesy of the artist and Audemars Piguet

Art Basel Miami Beach Lounge

Art Basel Miami Beach Lounge

Audemars Piguet unveils the latest chapter of an ongoing collaboration with Jana Winderen at Art Basel in Miami Beach 2019 Swiss Haute Horlogerie Manufacture Audemars Piguet celebrated the unveiling of The Art of Listening: Under Water…

[loneberry]

Fred [Moten]: Sandra and Hypatia, your collaboration is also a collaboration of the Caribbean and the Mediterranean. It’s a non-continental, archipelagic thing, or thinking. Y’all think by way of islands, rather than by continental landmasses, in a way that accesses the somehow more palpable way that islands shift and move, and exist as a function of a certain volatility. You link up with a long line of thought that approaches beach, and shoal, and delta.

Hypatia [Vourloumis]: Yes, and I would say that this non-continental “tidalectic” thinking, to cite Brathwaite, spans all the way towards the nusantara (archipelago) of Southeast Asia as well. In my research I think about the islands of the “former East Indies” and the “former West Indies” together too, and, working with Sandra, also Puerto Rico and Greece. What I appreciate so much about Sandra’s book Ricanness is her insistence on the use of the word “anticolonial,” which resonates for me because Puerto Rico and Greece share a history of being ongoing debt colonies.

Fred: Geopolitics is organized around continents. It’s organized through an imperial logic that is manifest in the crossing and claiming of land masses. Obviously, there’s transoceanic movement, but there’s this active practice at the level of administration and at the level of policy, about the settlement and conquering of land in a way that is predicated on, on some level, the physical impossibility of the settlement and the conquering of the sea. So that resistance to geopolitical brutality is a kind of oceanizing of land mass or an archipelagizing of land mass, which islands, in their movement and in their movements realize, or surrealize.

https://www.e-flux.com/journal/121/423318/resonances-a-conversation-on-formless-formation/

[fielduniversity]

Oceans. Imagining a Tidalectic Worldview

https://www.tba21.org/#item--Oceans--1865

exhibition by Thyssen-Bornemisza Art Contemporary (TBA21) 

[processingthings]

Tidalectics//TBA21//Augarten, Vienna