2006, 4min 19 sec; Format 16:9; Dimensions variable, Edition of 7
London, UK www.liachavez.com
My current video practice explores a hallucinatory, sensation-centered view of space, time and the world in which chance apparitions and ephemera are elevated to the same status as solid, pictorial objects. I am interested in non-narrative, non-rational uses of video, employing it to depict intuitive, fictional and speculative events and the molten realities which emerge from them.
The video is entitled Penetration, (2006). Filmed in London’s Piccadilly Circus, this silent video depicts the deconstruction of capitalist icons by fragmenting familiar symbols and logos and reassembling them in a chaotic, mesmerizing visual collage. http://www.vimeo.com/5109503
By JENNIFER STEINHAUER
Published: August 23, 2009
New York Times
“MORENO VALLEY, Calif. — Among the flotsam and jetsam that gather over the years in a home, there is now the random taillight behind the Winklers’ living room couch. And a 1967 Buick Riviera dashboard under the desk. When jobs are short and the savings account dwindles, selling spare parts on the Internet can help put braces in mouths, and pay a credit card bill or two.”
NY, USA / Canada
“Untitled New York”, 2009
“Untitled New York” (work in progress) is an ongoing series of photographs exploring the urban fabric of NYC and how its citizens relate to it, from the time I moved to the city in February 2009 to the present. I was interested in documenting the ruptures in an otherwise hyper-efficient network of grids and lines of mass transit; the organic interventions that anonymously comment on the status of these systems, with hints (that may fall on deaf municipal ears) as to how they should be improved. Having moved here in the midst of the economic crisis, I projected the state of the infrastructure as contingent on the self-made financial crisis of Wall st, on the expenses and budgeting of this financial hub now hit at its centre. The disruptions in the urban fabric (caused directly or indirectly by human intervention) were interesting to me as comments on the urban infrastructure’s use, from the people who use it, through indifference, neglect, transgression or facetiousness. In Bushwick, fire hydrants (in parts of Brooklyn called “johnny pumps”) were breached open, flooding the vicinity and making an island of a nearby Mercedes. In the same area, parked cars were used to block off traffic on Sundays, leaving locals the luxury of hanging a huge volley-ball net across two trees, with speaker piles in the middle of the street providing the soundtrack. Do these instances reflect a lapse in municipal amenities? Are the inhabitants of Bushwick merely filling in the gaps of the government’s neglect? Or are they -like the inconspicuous interventions into the grid of the subway with overtly domestic and personal items- necessarily personal and anonymous acts of generosity?”
Framework: The Finnish Art Review
– a bi-annual magazine.
In the cover image the sculptor, performance artist and cattle keeper Miina Äkkijyrkkä guides her cattle through the forest. Her personal conflict with authorities merges together with the uncertain destiny of the endangered native cattle breed of which there are only a few members left. Her experiences have caused personal uncertainty and helplessness in a situation where she literally has to ask: Where can we go?
Similarly, the prospects concerning the future of the global society merge together with the ongoing financial crisis, the fastening climate change and its impact on the global environment. Even if the consequences of the current developments are still unknown and unfurling, they can already prove that science or technological development do not alone lead to real development and welfare – on the contrary, the course of events may take quite an opposite direction. If the ’world balance’ can only depend on economic growth, how do we rescue the home for the human race?
Keeping the demise of neoliberal ideology in mind, the contributors in Locating have been asked to sketch out alternative starting points for today’s economic, political and aesthetic practices and draft outlines for alternative models. Among writers are Chuck Dyke, Michel Bauwens, David Elliott, Miina Äkkijyrkkä, Ásmundur Ásmundsson, Antoanetta Ivanova, Kim Levin, Elena Sorkina & Oliver Ressler, Morten Goll & Joachim Hamou & Tone Olaf Nielsen, and Marita Muukkonen & HeHe.
The magazine provides a wider context for Jussi Kivi’s Fire & Rescue Museum at Finnish Pavilion in 53rd Venice Biennale. In Focus Sven Spieker and Jonni Roos examine this artistic case study which has its origin in the artist’s long-standing passionate interest in everything that relates to firefighting. The collection was brought out of confinement and transformed to communicate new meanings after the artist’s accidental encounter with an underground nuclear bomb shelter constructed by the Soviet army in eastern Estonia. Artefacts of heroism are mirrored against the Soviet-time propagandist information boards and posters that give instructions on civil defence and firefighting procedures before and after a nuclear fallout. Childhood adoration for rescuers turns out to be a thin dream when it is faced with the threat of massive destruction.
The Finnish artists reviewed in Features are: Jan-Erik Andersson, Sasha Huber, Antti Laitinen, and Jani Ruscica. Their projects presented have been transgressing established boundaries that guide and control current conditions of artistic production.
The basis for my piece is the following days/weeks after the global recession hit. It was a time for recriminations, when the majority of banker were hate figures. I wanted to capture their feeling of hopelessness they must have felt and above all the feeling that the gravy train had ended, it was the death of the party. My piece captures the mood that the good times have ended. It uses a sample taken from a public train announcement, keeping only the words ‘i am very sorry’ evoking the commuters going to work and the feeling they must have had. They were alone and blamed by the world, an unimaginable situation.
Name: Obsil (Giulio Aldinucci)
Location: Siena (Italy)
Title: Capitalism is an empty factory
This composition can be described as an imaginary (and cerebral) soundscape of the life inside one of the factories that are going to close in Italy (…in Europe, in the World). In other words, as an enormous empty space where just some of the machines are in function; a sort of desert where the human and machine sounds jumble up like gloomy mirages.