Eye To Eyebeam is a series on Eyebeam's residents and fellows. It includes interviews, photos, and other news and is authored by Eyebeam intern Katherine DiPierro. These interactive posts offer visitors the opportunity to learn more about Eyebeam's diverse community of creative practitioners.
Each week, you'll see interviews profiling individual Eyebeamers. Artists who have already engaged in conversation about their projects include:
In the summer of 2011, Eyebeam Fellow Taeyoon Choi organized a tour to South Korean rivers in development with a group of five artists who are also fellows at Eyebeam Art and Technology Center in New York and about ten artists and activists from South Korea. The tour was designed in collaboration with an activist groups “Listen to the city” and lead by environmental activists and local communities, and hosted by Total Museum of Contemporary Art in Seoul. The purpose of the tour was to experience urbanization and river development in first hand and to initiate creative dialogue between international artists and activists to imagine alternative future of our relationship to the cities and natural resources. Through 6 day tour and other events that proceeded over the course of 10 days, the roadshow team learned a great deal about the issue, strategies of participation and the limits of translating cultural context.
Taeyoon Choi is working on documentation in multiple media (Animation and website) that will follow the journey, recreate conversations about issues raised during the tour and personal interests and memories. The document is an artistic research in a sense that the its purpose is not purely political or academic, but artistic in search of creative thought and conversations.
Ruins (Carcinomas) highlights breast cancer’s links to carcinogens in our everyday environment. Depicting fallen urban landscapes over-run with tumors, the pieces are based on breast cancer tumor forms, imaged and “digitally removed” through a special process devised by caraballo-farman, that combines Magnetic Resonance Imaging and rapid prototyping. The grey ‘support material’ used by 3D printers to build up a form is generally meant to be removed. But the artists used Eyebeam’s 3D printer in such a way as to maximize the architectural form of the printer’s support structures and then hacked at the structures to partially reveal the white tumor embedded.
The project was begun at Eyebeam after one of the artists was diagnosed with breast cancer. For most of the 1.3 million women in the world diagnosed every year, the tumor has no image. It’s an invisible malignancy. This prompted caraballo-farman to start their on-going project, Object Breast Cancer, as a way of exploring the tumor’s “image” in various registers.
The project has been supported by fellowships from the Guggenheim Foundation and New York Foundation for the Arts, residencies at Eyebeam Art and Technology Center, the Lower Manhattan Cultural Council and Art Omi, and assistance from Stratasys, Inc and NYU’s Advanced Media Studios. caraballo-farman have exhibited internationally in such venues as the Tate Modern, PS1/Moma and the Yerba Buena Center for The Arts.
Flock House is a group of migratory, public, sculptural habitats that host on underused urban infrastructure as they move with the help of preexisting transportation routes: from barges to flat bed trucks to helicopters, they can easily catch a ride to the next destination while living off and providing for their surroundings.
Commencing in New York City and choreographed throughout urban centers in the United States and three planes of living (subterranean, ground, and sky) the shape and form of Flock House is inspired by current global human migration patterns. Built collaboratively upon reclaimed, redesigned, and rethought materials within a gift culture, Flock House sets out to inspire reinvention of mobile structures in a time when growing urban populations are faced with imminent environmental, political, and economic instability.
Part fantastic and part realistic living, mobile Flock House living systems are both autonomous and dependent on their local community, inhabited by people experimenting with peripatetic existence to reflect our current age framed by global migration, and representing migratory structures as part of an urban ecology.
While migratory birds stock up on energy before journeying, Flock House structures depend on the built environments they land in, as well as the interdependence of human relationships to care for, share amongst, and inspire new ideas. Flock House living systems are bridges for cross-discipline, cross-boundary, and cross-border notions of property and community. Flock House reflects community-interdependence and resourcefulness, learning, curiosity, and creative exploration while fostering flexibility, adaptability, and ingenuity by imagining new notions of perimeter, property, and polity.
Due to a rise in environmental and political risk, dislocation and relocation is an increasing fixture in life and is important to consider and reconcile. The need to move is pervasive.
The FM Ferry Experiment, a project conceived and programmed by neuroTransmitter, will be an eight-day mobile radio project held on the Staten Island Ferry during the fall of 2007. With the collaboration of the New York City Department of Transportation and the FM signal of WSIA-FM, this project will transform the ferry into a floating radio station, continually traveling between Lower Manhattan and Staten Island, and transmitting out to the NYC region.
Through the media of radio and live broadcast performance we are interested in spatially and sonically activating the space in and around the Staten Island Ferry, considering it's architecture, mode of transport, use of public space, and the geographical contours of the ferry's immediate environment as it moves through Upper New York Bay.
Live sound performances, experimental sound works, interviews, and lectures will take place on the ferry and will be transmitted (along with pre-recorded programming) to New York City listeners via WSIA-FM. Each program will run approximately 25 minutes - the time it takes the ferry to complete the commute from shore to shore.
Field Notes on the Life of a Cocoon is the genealogy of a cocoon and its use as a tool to occupy trees and protect community gardens, study canopies and create portable public accomodations. Driving Field Notes is an interest in exploring the potential of open source architecture and expanding hte possibilities of hacked materials. By mapping the multiple relations, contexts and uses fo the form of the cocoon, Forays' installation comprises the field notes of an ongoing project, with the goal of inspiring new uses and articulations of an open-ended tool.
Terminal Air is a project that explores complex interconnections between government agencies and private contractors involved with the United States Central Intelligence Agency's extraordinary rendition program. Since the mid-90’s, the CIA has operated the extraordinary rendition program, in which suspected terrorists captured in Western nations are transported to secret locations for torture and interrogation. A thoroughly modern enterprise, the extraordinary rendition program is largely carried out using leased equipment and private contractors. These private charter planes often use civilian airports for refueling, making their movements subject to public record and visible to anyone who knows which tail numbers to look for. However, while these missions are carried out under the guise of protecting the American people, the nature of the program has thus far remained out of reach to both American and International law. With only the knowledge of what these planes have been used for in the past, human rights activists are left to view their movements as a vast “black box” and can only speculate whether any specific plane is currently carrying human cargo en-route to being tortured in a so-called CIA “dark prison”.
Terminal Air was developed through a partnership between Trevor Paglen and the Institute for Applied Autonomy. Support has been provided by Rhizome, Kurator.org and the Plymouth Arts Center.
The 13th Screen is an installation of community-shot video, orginal shape note songs and ephemera from the Route of Progress tour, part of the community art, video, and music project The Subliminal History of New York State. This past June and July, The Route of Progress Tour traveled to six towns and cities along the Erie Canal, stopping in the various locations for up to a week each: Troy, Rome, Palmyra, Lockport, Lily Dale, and Schenectady. At each place, the artists held public singing and video workshops, created a series of location-based shape note songs, and filmed the community shot video The 13th Screen.
This video installation is based on three photo collections of street images from Seoul and Tehran and New York City, originally initited as a Flickr group. Urban particle supercollider links these cities (and their local participants) through street images: Seoul, Tehran, and New York City are composed out of various street objects from their neighborhoods -ranging from torn newspaper fragments to fast-food stands- resulting in a catalogue of images repleat with personal and cultural significance.
Whereas mysticism and religion describe the world in terms of the interaction of opposites, Black and White interprets information, the text and numbers flowing through a computer network, as a primal dance of zeroes and ones - opposing forces. Black and White is an "un-visualization" that translates the lowest level data, a stream of zeroes and ones, into a drawing using a black line and a white line. The occurrences of zero and one in the data push the black and white lines in opposite directions, while the lines also attract toward their mutual center. The liens circle on another, drawing out the information quite precisely yet a a form that cannot possibly convey meaning as we know it. Black and White is about dissolving information. It points to the inherently indescribable experience that lies just outside the reach of our language.