Exhibition booklet - Ascending of the horizon liquid by Le Lieu Unique

ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON

Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions 1 of a changing world

PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE

Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation

Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutationASCENDING FROM THE LIQUID HORIZON Contemporary visions

of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ L’HORIZON LIQUIDE Visions contemporaines d’un monde en mutation ASCENDING FROM THE LIQUID HORIZON Contemporary visions of a changing world PAR-DELÀ

L’HORIZON LIQUIDE Table of Contentsd’un monde en mutation Visions contemporaines ASCENDING FROM d’un monde en mutation Patrick Gyger THE LIQUID HORIZON ASCENDINGStanding FROM at event horizon Contemporary 5visions THE LIQUID HORIZON À l’horizon des événements of a changing11world Contemporary visions PAR-DELÀ Anni Puolakka and of a changing world Jaakko Pallasvuo L’HORIZON LIQUIDE 17 PAR-DELÀ Visions contemporaines L’HORIZON LIQUIDE Guan Xiao d’un monde en23 mutation Visions contemporaines ASCENDING FROM Ilves d’un monde enKati mutation THE LIQUID HORIZON ASCENDINGAscending FROM from the liquid horizon Contemporary 25visions THE LIQUID HORIZON Par-delà l’horizon liquide 33world of a changing Contemporary visions PAR-DELÀ Joey Holder 43 of a changing world L’HORIZON LIQUIDE PAR-DELÀ Katja Novitskova Visions contemporaines 51 L’HORIZON LIQUIDE d’un monde en mutation Visions contemporaines Bas Hendrikx ASCENDING FROM d’un monde enLights mutation on but Nobody’s Home 56 THE LIQUID HORIZON ASCENDING FROM Contemporary Norman Orro 59visions THE LIQUID HORIZON of a changing world ContemporaryKristina visions Õllek 61 PAR-DELÀ of a changing world L’HORIZON LIQUIDE Jaak Tomberg PAR-DELÀ Visions Good Old-fashioned Futurecontemporaines 65 L’HORIZON LIQUIDE d’un monde en mutation Visions contemporaines Vello Vinn ASCENDING71FROM d’un monde en mutation THE LIQUID HORIZON ASCENDINGLaura FROM Põld Contemporary73visions THE LIQUID HORIZON of a changing 81world ContemporaryNicholas visionsRiis PAR-DELÀ of a changing world Nat Muller L’HORIZON LIQUIDE PAR-DELÀ The Sirenia’s TaleVisions 83 contemporaines L’HORIZON LIQUIDE d’un monde en89 mutation Simon Wald-Lasowski Visions contemporaines ASCENDING FROM d’un monde en mutation Sol Archer 97 THE LIQUID HORIZON ASCENDING FROM Contemporary visions THE LIQUID HORIZON Taavi Suisalu 103 of a changing world Contemporary visions PAR-DELÀ Biographies 107 of a changing world and Annotations L’HORIZON LIQUIDE PAR-DELÀ Visions contemporaines L’HORIZON LIQUIDE d’un monde en mutation 3 Visions contemporaines

Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON Patrick Gyger STANDING AT THE EVENT HORIZON

STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING STANDING

Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT Patrick Gyger AT THE EVENT

HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON HORIZON

Patrick Gyger Patrick Gyger STANDING AT continue the STANDING “We’ll fight in AT THE EVENT the HORIZON THE EVENT inside universe”, I said. HORIZON Patrick Gyger Patrick Gyger “Is it really possible?” asked her. STANDING AT STANDING “Yes, it’s possible” “But how?” AT THE EVENT “We’ll HORIZON THE EVENT HORIZON fight with our dreams!” Patrick Gyger Patrick Gyger Michel Jeury. STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON Standing at the Event Horizon Patrick Patrick InGyger the heart of Nantes, thereGyger stands STANDING ATignored by everyone. STANDING AT a statue THE EVENT HORIZON THEand EVENT HORIZON Holding a quadrant portolan Patrick Gyger Patrick Gyger chart, the statue of Henry the STANDING AT STANDING AT Navigator ought to cause passersby THE EVENT THE EVENT HORIZON to HORIZON stop and question: “what is this Patrick Gyger Patrick Gyger Portuguese prince, who financed his STANDING AT naval fleetSTANDING country’s and allowedAT THE EVENT EVENT HORIZON forHORIZON a route to beTHE opened to West Patrick Gygerdoing here?” But Patrick Gyger Africa, instead STANDING AT he is ignored, as for STANDING anyone whoAT THE EVENT HORIZON THE completely EVENT HORIZON walks past, it seems Patrick Gyger incongruous that thisPatrick figure Gyger would STANDING AT STANDING AT stand tall in Place du Commerce. THE EVENT HORIZON THE EVENT HORIZON There is no reference to its context Patrick Gyger Patrick Gyger at all. Not even an unwittingly STANDING ATone, to the triangular STANDING AT critical THE EVENT HORIZON THE EVENT HORIZON commerce and associated slave Patrick Gyger Patrick Gyger trade for which Nantes was the STANDING ATport in France, STANDING central and whichAT THE EVENT HORIZONto the THE EVENT HORIZON contributed city’s morally Patrick Gyger accumulation Patrick Gyger dubious of wealth. STANDING AT STANDING AT THE EVENT HORIZON THEatEVENT HORIZON Despite this statue, odds with Patrick Gyger Patrick Gyger his environment and with little STANDING ATexplain his stand-still STANDINGlife AT done to THE EVENT HORIZON THE EVENT HORIZON of decades to come, it is hard to Patrick Gyger deny that Nantes hasPatrick for theGyger most STANDING AT an exemplary STANDING part done job of AT THE EVENT HORIZON THE EVENT HORIZON exploring and coming to terms with Patrick Patrick Gyger itsGyger past relationship to slavery (to STANDING STANDING AT name AT one example, the Memorial THE EVENT EVENTbyHORIZON to HORIZON the Abolition THE of Slavery artists Patrick Gyger Patrick Gyger Krzysztof Wodiczko and architect STANDING STANDING AT JulianAT Bonder). THE EVENT HORIZON THE EVENT HORIZON Patrick Patrick Gyger InGyger light of this, it is perhaps possible STANDING AT to try AT and see HenrySTANDING the Navigator THE EVENT THEthan EVENT HORIZON as HORIZON something other purely the Patrick Gyger of European Patrick Gyger instigator colonialist STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON

Patrick Gyger Patrick Gyger STANDING AThis excessive STANDING AT expansion, driven by THE EVENT HORIZON THE EVENT HORIZON thirst for material goods and Patrick Gyger the accumulation of new wealth. Patrick Gyger STANDING ATambitions such STANDING AT Characteristics and EVENT HORIZON THE EVENT HORIZON as THE these are echoed in the powerful Gyger Patrick Gyger figuresPatrick of the 21st century today – STANDING STANDING AT those who believe AT they are furthering EVENT HORIZON THE EVENT HORIZON ourTHE knowledge, with figures such Gyger Patrick Gyger as ElonPatrick Musk and Jeff Bezos at the STANDING AT STANDING AT forefront of this charge. No, instead THE EVENT HORIZON EVENT HORIZON let’s deliberately try and see THE Henry Patrick Gyger as an inspiring personality on thePatrick Gyger STANDING STANDING AT cusp of the age of AT the West’s great THE EVENT THE discoveries. HeHORIZON had a taste for theEVENT HORIZON Patrick Gyger new technologies of his time – Patrick Gyger AT STANDING AT which STANDING proves, to anyone who might THE HORIZON THE EVENT HORIZON still be EVENT doubtful, that the Middle Patrick Gyger Patrick Gyger Ages was a period rich in research STANDING AT pushed him STANDING AT and innovation – which EVENT HORIZON THE EVENT HORIZON to THE be interested in cosmography, Patrick astronomy, andGyger the techniques ofPatrick Gyger STANDING naval construction.AT He boosted STANDING AT EVENT theTHE creation of HORIZON the caravel – THE EVENT HORIZON Patrick Gyger revolutionary in its capacity to Patrick Gyger STANDING AT navigate close to coastlines – STANDING AT THE EVENTseveral HORIZON THE EVENT HORIZON and financed expeditions. Patrick Gyger Patrick Gyger AT– who, in fact, STANDING AT Henry STANDING the Navigator THE‘navigated’ EVENT HORIZON THE EVENT HORIZON never – had a horizon Patrick Gyger Gyger of unknowable immensity. It was Patrick so STANDING AT STANDING AT vast that it teemed with every horror THE EVENT THE EVENT HORIZON imaginable, as HORIZON well as every fantasy. Patrick Gyger And it truly was the future that Patrick Gyger STANDING presented itself toAT him, tipping STANDING AT THE EVENT HORIZON the Old World into the New. THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT today: for STANDING AT It seems very faraway, THE EVENT HORIZON EVENT HORIZON simply the horizon line over THE the sea Patrick Gyger limit, one’sPatrick Gyger to be one’s motivating AT centuries after STANDING AT call toSTANDING departure. Six THE one EVENT HORIZON THE EVENT HORIZON Henry, must look far beyond Patrick Gyger this watery horizon in order to Patrick Gyger STANDING ATdream of new STANDING AT find new challenges, THE EVENT HORIZON THE EVENT HORIZON exploits, and build new solutions for Gyger Patrick Gyger a worldPatrick that has once again become STANDING AT imagined STANDING AT old. The 20th century THE EVENT HORIZON THE EVENT HORIZON “the final frontier” (as the opening GygerTV series once Patrick Gyger creditsPatrick to a popular STANDING AT STANDING AT 6 THE EVENT HORIZON THE EVENT HORIZON

Patrick Gyger Patrick Gyger STANDING AT it) as space. STANDING AT called And yet, the THE EVENT HORIZON THE EVENT HORIZON cosmos has revealed itself to be Patrick Gyger Patrick too vast, too hostile, andGyger too difficult STANDING AT STANDING AT to colonize, while our own planet THE EVENT HORIZON EVENT HORIZON has entered aTHE phase of unbridled Patrick Gyger overdrive, within Patrick which itGyger is clearly STANDING AT STANDING ATto becoming essential – contrary THE EVENT HORIZON THE HORIZON what a handful ofEVENT billionaires would Patrick Gyger Patrick Gyger have us believe for the sole benefit STANDING STANDING AT of AT the ultra-privileged, who continue THE EVENT HORIZON THE EVENT HORIZON blinding us with their stars – to turn Patrick Gyger Gyger our gaze towards Patrick our broken-down STANDING AT STANDING AT civilization, the one right in front THE EVENT HORIZON of our eyes. THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT day, le lieuSTANDING AT Every unique, Nantes’ THE EVENT HORIZON THE EVENT culture, HORIZON centre for contemporary Patrick Gyger Gyger presents works byPatrick musicians, STANDING AT STANDING AT choreographers, visual artists, THE EVENT HORIZON THE EVENT HORIZON filmmakers, philosophers, and DJs. Patrick Gyger Patrick Gygerhere It calls out to artists to bring STANDING AT STANDING AT of their different and crucial ways THE EVENT HORIZON THE HORIZON thinking: they are EVENT the cartographers Patrick Gyger Patrick Gyger of newly emerging lands, naturalists STANDING AT STANDING AT seeking out endangered species, THE EVENT HORIZON EVENT HORIZON collectors ofTHE chimera. Ryoji Ikeda, Patrick Gyger Patrickand Gyger Lucien Castaing-Taylor Véréna STANDING AT STANDING AT Paravel, Joris Mathieu, Richard THE EVENT HORIZON EVENT HORIZON Pinhas, H. R. THE Giger, Semiconductor, Patrick Gyger Gyger Evelina DomnitchPatrick and Dmitry STANDING AT AT Gelfand, Robert STANDING Lepage, Alberto THE EVENT HORIZON EVENT HORIZON Manguel, andTHE Olivia Grandville – to Patrick Gyger Patrick Gyger mention only a few names among the STANDING AT STANDING AT thousands who have walked through THE EVENT HORIZON THE EVENT HORIZON the centre’s doors: they alone give Patrick Gyger Patrick Gygerallow us such viewpoints that might STANDING STANDING AT in us AT to embrace our surroundings THE EVENT HORIZON THE EVENT HORIZON a new (and therefore, relevant) way. Patrick Gyger Gyger These artists takePatrick us on journeys STANDING AT walk alongSTANDING AT – which a razor’s edge THE EVENT HORIZON THE EVENT HORIZON journeys on which we might find Patrick Gyger Patrick Gyger those “lines of flight” so dear to STANDING AT Deleuze (Mille STANDING AT Plateaux , 1980), Gilles THE EVENT HORIZON THE EVENT HORIZON who so called the trajectory of those Patrick Gyger Patrick Gyger who lived their lives under the sign STANDING STANDING AT of AT experimentation and freedom. THE EVENT HORIZON THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON 7

Patrick Gyger Patrick Gyger STANDING STANDING AT Throughout theAT year, le lieu unique THE EVENT HORIZON THE EVENT HORIZON symbolically raises its LU tower Gyger It also acts as Patrick Gyger likePatrick a periscope. STANDING AT STANDING AT a semaphore to guide the public – THE HORIZON THEthe EVENT HORIZON the EVENT new explorers – through Patrick Gyger Gyger most salient questions asked Patrick by STANDING AT 21st century, STANDING AT this long-awaited which THE HORIZON EVENT HORIZON has EVENT finally arrived. At its THE highest Patrick Gyger point, the eye can see farther Patrick than Gyger AT the constantly STANDING AT theSTANDING waves, towards THE EVENT HORIZON THE EVENT HORIZON ebbing horizon. Patrick Gyger Patrick Gyger STANDING AT STANDING AT And so, here we are, par-delà THE EVENT HORIZON THE EVENT HORIZON l’horizon liquide , in a ship, whose Patrick Gyger Patrick sails proudly flap, transporting the Gyger STANDING AT AT pavilion of contemporary art.STANDING As the THE EVENT HORIZON THE EVENT HORIZON artists featured in this exhibition Patrick Gyger show us, there are new limits Patrick Gyger STANDING AT to seek out STANDING AT that they continue as THE EVENT HORIZON THE EVENT HORIZON pioneers, pulling us along in their Patrick Gyger and salutary Patrick Gyger wake, in perpetual STANDING AT STANDING AT reinvention. Indeed, those who THE HORIZON EVENT HORIZON live EVENT on edges – be they ofTHE time or Patrick Gyger Patrick Gyger space – are beings that abandon STANDING AT STANDING AT their former identities, as Marshall THE EVENTonce HORIZON THE EVENT HORIZON McLuhan wrote. Patrick Gyger Patrick Gyger STANDING STANDING AT Whether artistsAT carry us to faraway THE EVENT HORIZON THE EVENT perspectives or allow us to catch a HORIZON Patrick Patrick Gyger glimpse of Gyger our immediate environSTANDING AT a radical,STANDING AT ment in a new light, poetic, THE THE EVENT HORIZON and EVENT biased HORIZON approach becomes Patrick Gyger Patrick Gyger necessary: making a world readable ATas it continues STANDING AT andSTANDING reigniting it THE EVENT HORIZON THE EVENT HORIZON to seem more and more like “the Gyger and the world Patrick Gyger endPatrick of the world of STANDING AT STANDING AT beginnings” (Lawrence Ferlinghetti), THE EVENT HORIZON THE EVENT HORIZON where a hopeless fatalism meets Patrick Patrick Gyger unheard of Gyger possibilities. STANDING AT STANDING AT THE THE EVENT HORIZON TheEVENT artists HORIZON on these edges turn Patrick Gyger Patrick Gyger into dream surveyors, agents who STANDING STANDING AT reveal complexAT and exhilarating THE EVENT HORIZON THE EVENT HORIZON perspectives, ushers of unimagined Patrickand Gyger Patrick Gyger potential cross-disciplinary STANDING readings. At theAT heart of theirSTANDING AT THE EVENT and HORIZON THE EVENT HORIZON intentions, le lieu unique’s Patrick Gyger Patrick Gyger mission, there is always the question STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON

Patrick Gyger Patrick Gyger STANDING AT of societies STANDING AT of utopias, and THE EVENT HORIZON THE EVENT HORIZON desirable existences. Patrick Gyger Patrick Gyger STANDING AT STANDING Because, while the last century AT THE EVENT HORIZON EVENT of HORIZON dreamed almostTHE exclusively the Patrick Gygertoday, we seem Patrick future, to be Gyger running STANDING ATtomorrow: itSTANDING AT late for is hard times THE EVENT THE HORIZON forHORIZON the future. We areEVENT at the event Patrick Gyger standing at the Patrick Gyger horizon, point of STANDING AT this placeSTANDING AT no return, where nothing THE EVENT HORIZON THE EVENT HORIZON touches us any more. It is crucial to Patrick Gyger move outside of this Patrick zone. Gyger STANDING AT STANDING AT THE EVENT HORIZON THEmany EVENT HORIZON There are obviously Patrick Gyger Patrick Gyger possibilities, which artist Katja STANDING AT STANDING Novitskova, on the invitation of AT THE EVENT HORIZON THE EVENT HORIZON curator Kati Ilves shows us, by Patrick Gyger Patrick with Gyger presenting hybrid creatures STANDING ATmovements STANDING AT cryptic and incongruous THE EVENT HORIZON THE EVENT HORIZON screams – organisms that have Patrick Gyger Patrick Gyger transformed, either because of STANDING AT STANDING AT technology or due to a need to adapt THE EVENT THE EVENT to HORIZON the conditions of their lifeHORIZON on Patrick Gyger Patrick Gyger this planet which – through human STANDING AT– have beenSTANDING AT actions imposed upon THE EVENT HORIZON THE EVENT HORIZON them. Patrick Gyger Patrick Gyger STANDING STANDING AT OtherAT sounds present in the THE EVENT HORIZON HORIZON exhibition comeTHE fromEVENT Norman Patrick Gyger Patrick Orro’s installation – an artistGyger who STANDING AT STANDING has gone as far as making musicAT THE EVENT HORIZONfor plants; THE EVENT HORIZON exclusively our impact Patrick Gyger Patrick Gyger on nature clearly stated. As for STANDING STANDING SimonAT Wald-Lasowski’s animals,AT THE EVENT HORIZON THE EVENT HORIZON they are so deformed that they Patrick Gyger Patrick Gyger are grotesque and frightening, like STANDING AT AT apocalyptic clowns, STANDING chanting songs THE EVENT THE EVENT HORIZON of HORIZON disenchantment. Patrick Gyger Patrick Gyger STANDING AT STANDING While Laura Põld has devoted AT THE EVENT HORIZON THEconstruction-asEVENT HORIZON herself to an in situ Patrick Gyger Patrick Gyger deconstruction and reassembly in STANDING STANDING AT order AT to possibly, hopefully, conjure THE EVENT HORIZON THE EVENT HORIZON new ways of resolving crises. Guan Patrick Gyger Patrickthat Gyger Xiao also offers structures STANDING AT nature’s role STANDING AT question in sculpture THE EVENT HORIZON THE EVENT HORIZON and, therefore, the relationship Patrick Gyger Patrick Gyger STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON

Patrick Gyger Patrick Gyger STANDING AT between a wild environment andSTANDING AT THE EVENT HORIZON THE EVENT HORIZON one that is heavily built up. Patrick Gyger Patrick Gyger STANDING AT STANDING AT Nicholas Riis, on the other hand, THE EVENT HORIZON cultivates the uncanny natureTHE of EVENT HORIZON Patrick Gyger Patrick Gyger composites which are simultaneously STANDING AT STANDING AT familiar and fundamentally foreign, THE EVENTabstruse HORIZON THE EVENT HORIZON and perfectly over time/in Patrick Gyger Patrick Gyger terms of their use. Then, once again, STANDINGisAT STANDING AT the environment at the heart of THESuisalu’s EVENT HORIZON THE EVENT HORIZON Taavi work. It is examined Gyger in suchPatrick a way that the image the Patrick Gyger STANDING AT artist makes of it is distorted to STANDING AT EVENT HORIZON THE EVENT HORIZON theTHE point of being unrecognizable: Patrick Gyger Patrick Gyger technology allowing for a vision that STANDING AT until now, but STANDING AT had been impossible THE EVENT HORIZON THE EVENT HORIZON also carries within it a deformation Patrick Gyger now apparent. Patrick Gyger that has now become STANDING AT STANDING AT THE EVENT HORIZON Joey Holder resolutely statesTHE EVENT HORIZON Patrick Patrick Gyger her work to be Gyger futuristic and STANDING AT STANDING AT fictional. The artist bases her work EVENT HORIZON THE EVENT HORIZON onTHE scientific research and data Patrick Gyger taken from DNA, imagining that Patrick Gyger STANDING AT the humans of tomorrow will be STANDING AT THE EVENT HORIZON While THE EVENT HORIZON analyzed and remodelled. Patrick Gyger the protagonist of Sacre, by AnniPatrick Gyger STANDING AT Pallasvuo, STANDING AT Puolakka and Jaakko THE EVENT HORIZON EVENT HORIZON struggles in this world whichTHE we are Patrick Patrick Gyger fast paving theGyger way for, in a narrative STANDING ATcontrol and STANDING AT combining absolute THE EVENT THE EVENT HORIZON extreme chaos.HORIZON Patrick Gyger Patrick Gyger STANDING Sol Archer shines AT a light on the STANDING AT THE EVENT HORIZON THE automatization and gigantism of EVENT HORIZON Patrick Gygerin his work, the Patrick Gyger our infrastructures; AT is constant STANDING AT dance STANDING of the machines THE EVENT HORIZON THEhave EVENT HORIZON and debilitating. Homo sapiens Patrick Gyger disposable. Patrick Gyger rendered themselves Finally,STANDING Vello Vinn AT appears as theSTANDING AT THE saint EVENT THE EVENT HORIZON patron of HORIZON these visionary Patrick Gyger perspectives – reflections that Patrick Gyger STANDING Kristina Õllek alsoAT appears to STANDING AT THE EVENT HORIZON THE EVENT HORIZON reappropriate. Patrick Gyger Patrick Gyger AT All theSTANDING artists presented in this STANDING AT THE EVENT EVENT HORIZON exhibition pointHORIZON to the blurryTHE borders Patrick–Gyger of our future a future that has Patrick Gyger STANDING AT STANDING AT 8 THE EVENT HORIZON THE EVENT HORIZON

Patrick Gyger Patrick Gyger STANDING AT STANDING AT become a blind spot – and conjure THE EVENT HORIZON THE EVENT HORIZON up the paths to follow, or those to Patrick Gyger Patrick Gyger avoid, using the wavering landmarks STANDING AT STANDING they see along the skyline. IfAT there’s THE EVENT HORIZON THE EVENT HORIZON to be any redemption, it will happen Patrick Gyger Patrick our Gyger through transformation: own, STANDING AT so than theSTANDING AT we more transformation THE EVENT HORIZON EVENT HORIZON inflict on ourTHE surroundings. Patrick Gyger Patrick Gyger STANDING AT Alongside these STANDING creators, theAT staff THE EVENT HORIZON THE EVENT HORIZON and partners behind le lieu unique Patrick Gyger Patrickbustle Gygerabout and Kumu Art Museum STANDING AT STANDING in their engine rooms, havingAT left THE EVENT HORIZON THE EVENT dry land a long time ago.HORIZON They assist Patrick Gyger Patrick Gyger them in their endless quest to open STANDING STANDING ATthe upAT pathways, to see which way THE EVENT HORIZON THEdraft EVENT HORIZON wind is blowing, portolan Patrick Gyger charts of distant Patrick shores, Gyger to shine STANDING AT on the shadowy STANDING AT a light landscape THE EVENT HORIZON THE EVENT HORIZON of knowledge, develop ideas, and Patrick Gyger tirelessly imaginePatrick better Gyger horizons. STANDING AT STANDING Let us thank every last one ofAT them. THE EVENT HORIZON THE EVENT HORIZON Patrick Gyger Patrick Gyger –Patrick Gyger STANDING Director AT STANDING of le lieu unique –AT THE EVENT HORIZON EVENT HORIZON Centre for THE Contemporary Culture Patrick Gyger Patrick Gyger in Nantes STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON Patrick Gyger Patrick Gyger STANDING AT STANDING AT THE EVENT HORIZON THE EVENT HORIZON 9

Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS Patrick Gyger A L’HORIZON DES ÉVÉNEMENTS

A A A A A A A A A A A A A A A A A A A A A

Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS Patrick Gyger L’HORIZON DES ÉVÉNEMENTS

Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON « Nous continuerons la lutte DES ÉVÉNEMENTS DES ÉVÉNEMENTS dans l’univers intérieur, dis-je. Patrick Gyger Gyger – Est-ce possible ?Patrick demandaA L’HORIZON A L’HORIZON t-elle – C’est possible. – Mais DES ÉVÉNEMENTS DESnous ÉVÉNEMENTS comment ? – Nous battrons Patrick Gyger Patrick Jeury Gyger avec nos rêves ! », Michel A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS À l’horizon des événements Patrick Patrick Gyger À Gyger Nantes, en plein centre-ville, se A L’HORIZON A L’HORIZON dresse une statue ignorée de tous. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Portant quadrant de navigation Patrick etGyger portulan, la figure Patrick d’HenriGyger le A L’HORIZON A L’HORIZON Navigateur devrait interpeller le DES ÉVÉNEMENTS DES ÉVÉNEMENTS passant : que vient faire là ce prince Patrick Gyger Patrick Gygerde portugais ayant financé la marine A L’HORIZON L’HORIZON son pays, lui ouvrantAainsi la route DES ÉVÉNEMENTS DES ÉVÉNEMENTS de l’Afrique de l’Ouest ? Il paraît Patrick Gyger sur la placePatrick Gyger incongru du Commerce, A L’HORIZON L’HORIZON pour qui n’y voit pas A une référence DES ÉVÉNEMENTS DES ÉVÉNEMENTS peut-être involontairement critique Patrick Patrickà Gyger auGyger commerce triangulaire, la traite A L’HORIZON A L’HORIZON négrière dont la ville était le pivot en DES ÉVÉNEMENTS DES ÉVÉNEMENTS France, et à son enrichissement à la Patrick Gyger Patrick Gyger probité plus que douteuse. A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Force est de reconnaître toutefois Patrick Gyger Patrick que Nantes a effectué sur le Gyger sujet de A L’HORIZON L’HORIZON l’esclavage un travailAde mémoire DES ÉVÉNEMENTS ÉVÉNEMENTS exemplaire – entreDES autres avec Patrick Gyger Gyger une œuvre d’artistes,Patrick le Mémorial A L’HORIZON A L’HORIZON de l’abolition de l’esclavage de DES ÉVÉNEMENTS DES Krzysztof Wodiczko etÉVÉNEMENTS Julian Bonder. Patrick Gyger Patrick Gyger A L’HORIZON L’HORIZON Ainsi, il est peut-êtreApermis DES ÉVÉNEMENTS DES ÉVÉNEMENTS aujourd’hui de voir en Henri Patrick Patrick Gyger le Gyger Navigateur autre chose que A L’HORIZON A L’HORIZON l’initiateur de l’expansion coloniale DES ÉVÉNEMENTS DESun ÉVÉNEMENTS européenne mue par goût Patrick Gyger des biens Patrick Gyger immodéré matériels et A L’HORIZON A L’HORIZON de l’accumulation de nouvelles DES ÉVÉNEMENTS DESet ÉVÉNEMENTS richesses – des traits des Patrick Gyger Patrick ambitions qui ne paraissent Gyger pas A L’HORIZON A L’HORIZON déplacés chez les puissants de DES ÉVÉNEMENTS DES ÉVÉNEMENTS notre XXIe siècle qui disent faire Patrick Gyger les connaissances, PatrickElon Gyger avancer A L’HORIZON A L’HORIZON Musk ou Jeff Bezos en tête. Non, DES ÉVÉNEMENTS DES ÉVÉNEMENTS voyons à dessein en Henri une Patrick Gyger Patrick Gyger personnalité inspirante à l’orée de A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS

Patrick Gyger Patrick Gyger A grandes L’HORIZON A L’HORIZON l’âge de découvertes pour DES ÉVÉNEMENTS DES ÉVÉNEMENTS l’Occident. Son attrait pour les Patrick Gyger nouvelles technologies de son Patrick Gyger A L’HORIZON A L’HORIZON temps – qui montre à qui en doute DESque ÉVÉNEMENTS encore le Moyen Âge est DES ÉVÉNEMENTS Patrick Gyger une période riche de recherches Patrick Gyger A L’HORIZON et d’innovations – le pousse à A L’HORIZON DES ÉVÉNEMENTS s’intéresser à la cosmographie,DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger à l’astronomie, à la technique A L’HORIZON de construction des navires. Il A L’HORIZON DES la ÉVÉNEMENTS DES ÉVÉNEMENTS impulse création de la caravelle, Patrick Gyger révolutionnaire car capable de Patrick Gyger A L’HORIZON naviguer au près, et finance de A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS nombreuses expéditions. Patrick Gyger Patrick Gyger A Navigateur, L’HORIZONlui qui n’a jamais A L’HORIZON Henri le DES ÉVÉNEMENTS DES ÉVÉNEMENTS navigué, avait bien pour horizon une Patrick Gyger vaste au point Patrick Gyger immensité inconnue, A L’HORIZON A L’HORIZON d’être porteuse de toutes les terreurs, DESles ÉVÉNEMENTS DES ÉVÉNEMENTS de tous fantasmes. Et c’était Patrick Gyger Patrick Gyger bien l’avenir qui s’y présentait à lui, A L’HORIZON A L’HORIZON faisant basculer l’Ancien Monde dans DES ÉVÉNEMENTS DES ÉVÉNEMENTS le Nouveau. Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON Ils semblent bien loin aujourd’hui, DES ÉVÉNEMENTS DESauÉVÉNEMENTS cette limite motivante, cet appel Gyger Patrick Gyger départ.Patrick Six siècles après Henri, c’est A L’HORIZON bien par-delà cet horizon liquide A L’HORIZON DES ÉVÉNEMENTS qu’ilDES fautÉVÉNEMENTS chercher les nouveaux Patrick Patrick Gyger défis, rêver lesGyger nouvelles prouesses, A L’HORIZON A construire les nouvelles solutions L’HORIZON ÉVÉNEMENTS DES pourDES un monde redevenu ancien. LeÉVÉNEMENTS Patrick Gyger Patrick Gyger 20ème siècle a bien imaginé une « A L’HORIZON A L’HORIZON frontière finale » (selon le générique DES ÉVÉNEMENTS DES ÉVÉNEMENTS d’une célèbre série télévisée de Patrick Gyger Patrick Gyger science-fiction), l’espace. Pourtant, A L’HORIZON le cosmos s’est révélé trop vaste,A L’HORIZON ÉVÉNEMENTS DES ÉVÉNEMENTS tropDES hostile, trop difficile à coloniser Patrick Gyger Patrick Gyger alors même que notre propre planète A L’HORIZON A est entrée en phase de surrégime L’HORIZON DES et ÉVÉNEMENTS DES ÉVÉNEMENTS délirant qu’il se révèle essentiel – Patrick Gyger Patrick Gyger contrairement là encore à ce que A L’HORIZON quelques milliardaires tentent A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS de nous faire croire, pour le seul Patrick Gyger Patrick Gyger profit des ultra-privilégiés qui nous A L’HORIZON éblouissent avec les étoiles – de A L’HORIZON DESnotre ÉVÉNEMENTS tourner regard vers notreDES ÉVÉNEMENTS Patrick Patrick Gyger civilisation en Gyger panne. A L’HORIZON A L’HORIZON 12 DES ÉVÉNEMENTS DES ÉVÉNEMENTS

Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON Le Lieu unique, centre de culture DES ÉVÉNEMENTS DES ÉVÉNEMENTS contemporaine de Nantes, donne Patrick Gyger Patrickdes Gyger à voir quotidiennement A L’HORIZON A L’HORIZON musicien(ne)s, chorégraphes, DES ÉVÉNEMENTS ÉVÉNEMENTS plasticien(ne)s,DES cinéastes, Patrick Gyger Gyger philosophes, DJs.Patrick Il en appelle A L’HORIZON L’HORIZON aux artistes pour A amener des DES ÉVÉNEMENTS DES ÉVÉNEMENTS manières de penser différentes Patrick Gyger Gyger mais essentiellesPatrick : ce sont les A L’HORIZON L’HORIZON cartographes de A terres récemment DES ÉVÉNEMENTS ÉVÉNEMENTS émergées, les DES naturalistes en quête Patrick Gyger Gyger d’espèces en voiePatrick d’apparition, A L’HORIZON A L’HORIZON les collectionneurs de chimères. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Ryoji Ikeda, Lucien CastaingPatrick Gyger Patrick Gyger Taylor et Véréna Paravel, Joris A L’HORIZON L’HORIZON Mathieu, Richard A Pinhas, H. R. Giger, DES ÉVÉNEMENTS DES ÉVÉNEMENTS Semiconductor, Evelina Domnitch Patrick Gyger Patrick Gyger et Dmitry Gelfand, Robert Lepage, A L’HORIZON L’HORIZON Alberto Manguel,AOlivia Grandville DES ÉVÉNEMENTS DES ÉVÉNEMENTS – pour n’en citer que quelques-uns Patrick Gyger parmi les milliersPatrick passésGyger en nos A L’HORIZON A L’HORIZON murs : eux seuls nous donnent des DES ÉVÉNEMENTS ÉVÉNEMENTS points de vue DES capables de nous faire Patrick Gyger Patrick embrasser nos alentours Gyger de manière A L’HORIZON A L’HORIZON inédite et donc pertinente. Ils nous DES ÉVÉNEMENTS emmènent surDES des ÉVÉNEMENTS passages qui se Patrick Gyger Patrick Gyger font sur le fil, là où se logent les A L’HORIZON L’HORIZON « lignes de fuite »Achères à Gilles DES ÉVÉNEMENTS ÉVÉNEMENTS Deleuze (MilleDES Plateaux , 1980) qui Patrick Gyger Patrick Gyger y voit la trajectoire de ceux qui A L’HORIZON A L’HORIZON placent leur vie sous le signe de DES ÉVÉNEMENTS DESet ÉVÉNEMENTS l’expérimentation de la libération. Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON Tout au long de l’année, le Lieu DES ÉVÉNEMENTS DES ÉVÉNEMENTS unique dresse ainsi symboliquement Patrick Gyger Patrick Gyger sa tour LU en périscope. Elle se fait A L’HORIZON A L’HORIZON également sémaphore pour guider DES ÉVÉNEMENTS DES ÉVÉNEMENTS les publics, nouveaux explorateurs, à Patrick Gyger Patrick Gyger travers les questions aiguës posées A L’HORIZON A L’HORIZON par ce 21ème siècle enfin né. De son DES ÉVÉNEMENTS faîte, le regardDES peutÉVÉNEMENTS se porter plus Patrick Gyger Patrick loin que les flots, vers cetGyger horizon A L’HORIZON A L’HORIZON qui se dérobe constamment devant DES ÉVÉNEMENTS DES ÉVÉNEMENTS nous. Patrick Gyger Patrick Gyger A L’HORIZON L’HORIZON Par-delà l’horizonAliquide , donc, dans DES ÉVÉNEMENTS DES ÉVÉNEMENTS un vaisseau qui, pendant quelques Patrick Gyger Patrick Gyger mois, bat fièrement pavillon A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS 13

Patrick Gyger Patrick Gyger A L’HORIZON estonien. Comme le montrentA L’HORIZON DES ÉVÉNEMENTS les artistes présentés dansDES cetteÉVÉNEMENTS Patrick Gyger Patrick Gyger exposition, ce sont de nouveaux A L’HORIZON A L’HORIZON confins qu’elles et ils recherchent DES ÉVÉNEMENTS DESnous ÉVÉNEMENTS continuellement en pionniers, Patrick dans Gygerleur sillage dans Patrick Gyger entraînant L’HORIZON A L’HORIZON uneAréinvention permanente et DES ÉVÉNEMENTS ÉVÉNEMENTS salutaire. En effet, ceux quiDES vivent Gyger auxPatrick frontières, qu’elles soient Patrick celles Gyger L’HORIZON du A temps ou de l’espace, sontA L’HORIZON DESêtres ÉVÉNEMENTS des qui abandonnent DES leursÉVÉNEMENTS Patrickanciennes, Gyger Patrick Gyger identités comme l’écrit A L’HORIZON A L’HORIZON Marshall McLuhan. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger Que les artistes nous emmènent L’HORIZON A L’HORIZON versAdes perspectives lointaines DES ÉVÉNEMENTS DES ÉVÉNEMENTS ou qu’ils fassent entrevoir notre Patrick Gyger Patrick Gyger environnement proche sous une A L’HORIZON A L’HORIZON lumière nouvelle, une approche DES ÉVÉNEMENTS ÉVÉNEMENTS radicale, poétique, biaisée,DES s’impose Patrick Gyger Gyger : rendre lisible et réenchanter Patrick un A L’HORIZON A L’HORIZON monde qui apparaît toujours plus DES ÉVÉNEMENTS DES ÉVÉNEMENTS comme « la fin de la terre et la terre Patrick Gyger Patrick Gyger du commencement » (Lawrence A L’HORIZON A L’HORIZON Ferlinghetti) où s’affrontent une DES ÉVÉNEMENTS DES ÉVÉNEMENTS fatalité désespérante et des Patrick Gyger Patrick Gyger possibilités inouïes. A L’HORIZON A L’HORIZON DES DES ÉVÉNEMENTS Ils seÉVÉNEMENTS font arpenteurs de rêves, Patrick Gyger révélateurs de perspectives Patrick Gyger A L’HORIZON A L’HORIZON complexes et exaltantes, ouvreurs DES ÉVÉNEMENTS DES ÉVÉNEMENTS de potentialités insoupçonnées et Patrick Gyger Patrick de lectures transversales. Au cœur Gyger A L’HORIZON L’HORIZON de leur propos, et du projet duALieu DES ÉVÉNEMENTS DES ÉVÉNEMENTS unique, se trouve donc toujours la Patrickdes Gyger Patrick Gyger question utopies, des sociétés A L’HORIZON A L’HORIZON et des existences souhaitables. DEStandis ÉVÉNEMENTS DES ÉVÉNEMENTS Car que le siècle dernier a Patrick Gyger rêvéPatrick l’avenirGyger plus que tout, nous A L’HORIZON L’HORIZON semblons aujourd’hui être en A retard DES ÉVÉNEMENTS DES ÉVÉNEMENTS pour demain : un sale temps pour le Patrick Gyger Patrick futur. Nous sommes à l’horizon des Gyger A L’HORIZON A L’HORIZON événements, la limite de non-retour, DES ÉVÉNEMENTS DES cet endroit où plus rien ne nousÉVÉNEMENTS PatrickIlGyger parvient. est indispensable Patrick de se Gyger A L’HORIZON mouvoir hors de cette zone. A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS

Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON Les possibles sont évidemment DES ÉVÉNEMENTS DES multiples. À l’invitationÉVÉNEMENTS de Kati Patrick Gyger Patrick Gyger Ilves, Katja Novitskova présente des A L’HORIZON A L’HORIZON créatures clairement hybrides, aux DES ÉVÉNEMENTS DES ÉVÉNEMENTS mouvements cryptiques et aux cris Patrick Gyger à l’organisme Patrick Gyger incongrus, transformé, A L’HORIZON A L’HORIZON que ce soit par la technologie ou DES ÉVÉNEMENTS DES ÉVÉNEMENTS l’adaptation aux conditions de Patrick Patrick Gyger vieGyger que la planète – sous notre A L’HORIZON A L’HORIZON impulsion – leur impose. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Patrick LeGyger son émane également de Gyger A L’HORIZON A L’HORIZON l’installation de Norman Orro, lui qui DES ÉVÉNEMENTS DES ÉVÉNEMENTS a été jusqu’à imaginer de la musique Patrick Gyger Patrick Gyger à faire écouter aux plantes vertes A L’HORIZON L’HORIZON ; notre impact sur la A nature est là DES ÉVÉNEMENTS DES ÉVÉNEMENTS clairement revendiqué. Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON Les animaux de Simon WaldDES ÉVÉNEMENTS DES ÉVÉNEMENTS Lasowski sont eux tellement Patrick Gyger qu’ils en deviennent Patrick Gyger déformés A L’HORIZON A L’HORIZON grotesques et effrayants, tels DES ÉVÉNEMENTS DES ÉVÉNEMENTS des clowns apocalyptiques, Patrick Gyger Patrick Gyger annonciateurs de lendemains qui A L’HORIZON A L’HORIZON déchantent. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Gyger Laura Põld se voue à Patrick une A L’HORIZON L’HORIZON construction in situ, A comme DES ÉVÉNEMENTS ÉVÉNEMENTS déconstruction etDES réassemblage, afin Patrick Gyger Gyger d’invoquer, peut-être,Patrick de nouvelles A L’HORIZON A les L’HORIZON manières de résoudre crises. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger Guan Xiao propose également des A L’HORIZON A L’HORIZON assemblages, qui questionnent DES ÉVÉNEMENTS DESdans ÉVÉNEMENTS la place de la nature la Patrick Gyger et donc le Patrick sculpture, rapportGyger entre A L’HORIZON A L’HORIZON environnement sauvage et construit. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Riis cultive Patrick Nicholas pour saGyger A L’HORIZON A L’HORIZON part l’inquiétante étrangeté de DES ÉVÉNEMENTS DES ÉVÉNEMENTS composites à la fois familiers et Patrick Gyger Patrick Gyger fondamentalement étrangers, à A L’HORIZON L’HORIZON l’usage parfaitementAabscons. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Gyger L’environnement, unePatrick fois encore, A L’HORIZON A L’HORIZON est au cœur du propos de Taavi DES ÉVÉNEMENTS DES ÉVÉNEMENTS Suisalu ; il y est scruté de telle Patrick Gyger que l’image Patrick Gygeren manière que l’artiste A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS

Patrick Gyger Patrick Gyger A distordue L’HORIZON rend est au point d’êtreA L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS méconnaissable : la technologie Gyger Patrick Gyger permetPatrick une vision auparavant A L’HORIZON A impossible, mais porte en elle une L’HORIZON DES ÉVÉNEMENTS déformation rendue apparente.DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON Joey Holder revendique son travail DES clairement ÉVÉNEMENTS comme futuriste etDES ÉVÉNEMENTS Patrick fictionnel. BaséGyger sur la recherche Patrick Gyger A L’HORIZON A L’HORIZON scientifique et des données tirées DES ÉVÉNEMENTS DES de l’ADN, l’artiste imagine que les ÉVÉNEMENTS Patrick Gyger Patrick Gyger êtres de demain seront analysés et A L’HORIZON A L’HORIZON remodelés. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Le protagoniste de Sacre, de AnniPatrick Gyger A L’HORIZON Puolakka et Jaakko Pallasvuo, se A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS débat dans ce monde dont nous pavonsPatrick la voie,Gyger alliant contrôle Patrick Gyger A L’HORIZON absolu A etL’HORIZON dérive extrême. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Gyger L’automatisation et le gigantismePatrick de A L’HORIZON A L’HORIZON nos infrastructures est rendu évident ÉVÉNEMENTS DES par DES Sol Archer ; dans son œuvre, leÉVÉNEMENTS Patrick Gyger Patrick Gyger ballet des machines est incessant, A L’HORIZON débilitant. L’espèce humaine s’estA L’HORIZON DESdispensable. ÉVÉNEMENTS DES ÉVÉNEMENTS rendue Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON Vello Vinn, enfin, apparaît comme DES ÉVÉNEMENTS DES ÉVÉNEMENTS figure tutélaire de ces perspectives Patrickdes Gyger visionnaires, réflexions que Patrick Gyger A L’HORIZON A L’HORIZON s’approprie Kristina Õllek. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger Tous les artistes présentés ici A L’HORIZON A L’HORIZON soulignent les frontières floues de DES ÉVÉNEMENTS DES notre avenir, devenu tache aveugle, ÉVÉNEMENTS Patrickpar Gyger Patrick Gyger et invoquent des repères A L’HORIZON chancelants des voies à suivre A L’HORIZON ÉVÉNEMENTS DES ÉVÉNEMENTS ou àDES éviter. La rédemption, si elle Patrick Gyger devait avoir lieu, passera par la Patrick Gyger A L’HORIZON transformation, la nôtre plus que A L’HORIZON DES celle queÉVÉNEMENTS nous infligeons à ce DES qui ÉVÉNEMENTS Patrick Gyger Patrick Gyger nous entoure… A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Au côté de ces créateurs, l’équipage Patrick Gyger et les partenaires du Lieu unique Patrick Gyger A L’HORIZON A L’HORIZON et du musée d’art Kumu s’affairent ÉVÉNEMENTS DES ÉVÉNEMENTS dansDES la chambre des machines, Patricklongtemps Gyger ayant depuis quitté la Patrick Gyger A L’HORIZON A L’HORIZON 14 DES ÉVÉNEMENTS DES ÉVÉNEMENTS

Patrick Gyger Patrick Gyger A L’HORIZON A assistent L’HORIZON terre ferme. Ils les dans DES ÉVÉNEMENTS DES ÉVÉNEMENTS leur quête sans fin pour ouvrir Patrick Gyger Gyger des voies, goûter Patrick des courants, A L’HORIZON A L’HORIZON dessiner les portulans de rivages DES ÉVÉNEMENTS DESles ÉVÉNEMENTS lointains, éclairer ombres du Patrick Gyger Patrick Gyger paysage des savoirs, développer A L’HORIZON A L’HORIZON les connaissances, et imaginer, DES ÉVÉNEMENTS DES inlassablement, desÉVÉNEMENTS horizons Patrick Gyger Patrick Gyger meilleurs. Qu’ils en soient ici tous A L’HORIZON A L’HORIZON remerciés. DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger –Patrick Gyger A L’HORIZON A L’HORIZON Directeur du lieu unique – DES ÉVÉNEMENTS DES ÉVÉNEMENTS Centre de culture contemporaine Patrick Gyger Patrick Gyger à Nantes A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS Patrick Gyger Patrick Gyger A L’HORIZON A L’HORIZON DES ÉVÉNEMENTS DES ÉVÉNEMENTS

Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and

Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo

SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015

Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE. 2015 Video

Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE Anni Puolakka and Jaakko SACRE

Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo Pallasvuo 17

Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE Anni Puolakka and Jaakko Pallasvuo SACRE

Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and

Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo

SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017

Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video

Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX Anni Puolakka and Jaakko SACRE 2: HEX

Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX

Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists Anni Puolakka and Jaakko Pallasvuo SACRE 2: HEX. 2017 Video Courtesy of the artists

Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM

NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC 22. 2015. TO BBC

Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto Re Rebaudengo Guan Xiao (1983, China) DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC. 2015. Installation Fondazione Sandretto

Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC Guan Xiao DOCUMENTARY: FROM NATIONAL GEOGRAPHIC TO BBC

Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON Kati Ilves ASCENDING FROM THE LIQUID HORIZON

Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON24THE LIQUID HORIZON

Kati Ilves Kati Ilves Kati Ilves Kati Ilves ASCENDING FROM ASCENDING ASCENDING FROM ASCENDING FROM Prologue: Once Upon a Time FROM creative manner of science fiction THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE adventure, the various obstaclesLIQUID HORIZON Not So Long Ago Kati Kati Ilves Kati be Ilves Kati Ilves InIlves 1971, the Estonian graphic artist which might encountered on such ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM Vello Vinn completed the etching trip. Those obstacles were overcome THE LIQUID THE LIQUID LIQUID HORIZON THE LIQUID HORIZON TheHORIZON Rockets in which a large HORIZON sea byTHE a submarine called the Nautilus, Kati Ilves Kati Kati Ilves shell floats in the centre of Ilves the an underwater vessel Verne namedKati Ilves ASCENDING FROM ASCENDING FROM ASCENDING FROM and ASCENDING FROM after American engineer inventor picture, accompanied by a group of THE LIQUID HORIZON THE HORIZON Robert THE LIQUID THE rockets ascending onLIQUID the horizon. Fulton’sHORIZON submarine of theLIQUID HORIZON Kati Ilves Kati– Ilves Kati–Ilves same name Verne depicting it inKati Ilves The shell and the rockets in fact ASCENDING FROM FROM great ASCENDING FROM the whole pictureASCENDING – is rich in details, detail back FROM when it wasASCENDING a bold THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON and in their abundance and intricacy unrealised idea in the inventor’s head Kati Ilves Kati rather than anIlves actual watercraft. Kati Ilves each reveals aspects ofKati the Ilves work’s ASCENDING FROM ASCENDING FROM ASCENDING FROM Nautilus’ journey FROM ended with ASCENDING its content to us. Repetition in pattern, THE LIQUID HORIZON HORIZON whereabouts THE LIQUIDunknown: HORIZON THE LIQUID HORIZON it drifted off, such as the sea THE shellLIQUID motif that Kati Ilves Kati Ilves Kati Ilves Kati Ilves perhaps to resurface again someday. continues reappearing, manipulates ASCENDING FROM perception. ASCENDING FROM FROM the viewer’s It is a FROM AndASCENDING like its animal namesake,ASCENDING it THE LIQUID HORIZON LIQUID HORIZON might THE LIQUID HORIZON THE LIQUID HORIZON be “still alive” or at least central elementTHE of the composition Kati Ilvesevery little detailKati Ilvesto Ilves Kati Ilves possible Kati to re-activate. which serves ASCENDING FROMIt is almost ASCENDING ASCENDING FROM ASCENDING FROM emphasise. like it isFROM THE LIQUID HORIZON THE LIQUID HORIZON Verne’s THE LIQUID HORIZON THE LIQUID HORIZON articulation of underwater asking the viewer to take a closer Kati Ilves Kati Ilves Katithe Ilves Kati Ilves life through endless possibilities look in an effort to eventually ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM that he imagined has had a rebirth. decipher it. The sea shell seems to THE LIQUID LIQUID HORIZON The THE LIQUID– HORIZON THE Nautilus as suggested by LIQUID HORIZON be aHORIZON Nautilus – THE a pelagic marine Kati Ilves Kati Ilves Kati Ilves the origins of the name – has not Kati Ilves mollusc that is considered a “living ASCENDING FROM yet ASCENDING FROM ASCENDING FROM disappeared; it’s sailing across fossil”FROM – an extantASCENDING taxon, as opposed THE LIQUID HORIZON LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON uncharted territories. Verne’s to being extinct,THE meaning that it is Kati Ilves Ilves Katiscenarios Ilves speculative have been Kati Ilves “still alive”. OriginatingKati from the ASCENDING FROMfamily,ASCENDING FROM adapted ASCENDING FROM by ASCENDING FROM and appropriated Nautilidae the Nautilus is THE LIQUID THE LIQUIDthat, HORIZON technocratic THE LIQUIDglobal HORIZON THE LIQUID HORIZON oneHORIZON of two family members enterprises Kati Kati “Still Ilves Ilves research with Kati Ilves inIlves fact, hasn’t yet died out. that mix Kati scientific ASCENDING ASCENDING ASCENDING FROM FROM alive”,FROM though, might be a slightFROM corporate interests. In 2019, ASCENDING the THE LIQUID HORIZON THE LIQUID HORIZON first THE LIQUID mining HORIZON THE HORIZON understatement in this case. Our deep-sea venture is LIQUID set Kati Ilves Kati Ilves Kati Ilves Kati Ilves Nautilus is very much alive, and to take place to excavate minerals ASCENDING FROM ASCENDING ASCENDING FROMnickel,ASCENDING FROM is rising up with its own army ofFROM such as copper, cobalt, gold THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON rockets which fill the horizon. and platinum, according to market Kati Ilves Kati Ilves demands.Kati TheIlves remotely controlledKati Ilves ASCENDING FROM ASCENDING FROM robots ASCENDING ASCENDING FROM Approximately one hundred years which willFROM slide into the THE LIQUID HORIZON THE LIQUID HORIZON depths THE LIQUID HORIZON THEsea LIQUID HORIZON before Vinn completed this work, of the Pacific resemble Kati Ilves Ilves Kati Ilves Their bodies Kati Ilves the Nantes-born writer Kati Jules Verne mammals or corals. ASCENDING FROM FROM have ASCENDING FROM ASCENDING FROM published what isASCENDING probably his most been designed to look like THE LIQUID HORIZON LIQUID HORIZON creatures THE LIQUID LIQUID HORIZON Twenty Thousand influential book,THE of theHORIZON sea floor onTHE their Kati Ilves Kati Ilves Kati Ilves Kati Ilves Leagues Under the Sea: A Tour of the search for minerals from the bottom 1 ASCENDING FROM World ASCENDING FROM of the ASCENDING FROMMinerals ASCENDING FROM Underwater . Describing an planet. Nautilus Inc. THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON underwater journey 20000 leagues is the first company to commercially Kati Kati Ilves Katisea Ilves inIlves length – in which one could go explore the floor and embrace Kati Ilves ASCENDING FROM FROM ASCENDING FROM Compared ASCENDING FROM around the globe ASCENDING two times over – its underwater horizons. THE LIQUID THEinLIQUID LIQUID HORIZON THElittle LIQUID HORIZON the HORIZON story depicted, a highlyHORIZON toTHE research conducted on land, Kati Ilves Kati Ilves Kati Ilves Kati Ilves 1 This book was first published in 1869–70 in France. ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON26THE LIQUID HORIZON THE LIQUID HORIZON

Kati Ilves Kati Ilves Kati Ilves Kati Ilves ASCENDING ASCENDING FROM ASCENDING ASCENDING FROM is FROM known about what lies beneath situation that FROM we are so obsessed THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE the liquid horizon. Speculation, with capturing and collectingLIQUID non- HORIZON Kati Ilves Ilves Kati Ilves Kati as always, depends Kati greatly on human biological life at the peak ofIlves ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM imagination. In the science fiction its extinction. Almost everything is THE LIQUID HORIZON THE from LIQUID HORIZON THE LIQUIDand HORIZON HORIZON film Pacific Rim 2013, it was collected preservedTHE and,LIQUID as a Kati Ilves Kati thought Ilves Kati Ilves concluded: “We always alien result,Kati we Ilves have a collection of visual ASCENDING ASCENDING FROM ASCENDING FROM ASCENDING FROM lifeFROM would come from the stars, but data intense and precise enough THE LIQUID HORIZON LIQUID HORIZON LIQUID HORIZON THE LIQUID HORIZON it came fromTHE deep beneath the sea – THE to model a whole new entity. The Kati Ilves Kati Ilves in KatiofIlves process extinction is almostKati Ilves a portal between dimensions ASCENDING ASCENDING FROM ASCENDING FROM to the ASCENDING FROM theFROM Pacific Ocean.” The living fossil inversely proportional growth THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON Nautilus might rise again, under of data collection. Taavi Suisalu, Kati Ilves Kati Ilves Katifrom Ilvesthis premise, shows Kati Ilves heavy alien influence, from depths working ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM nobody has yet to see. how planetary-scale computation THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON is becoming a tool for building Kati Ilves Kati Ilves Kati Ilves Kati Ilves 2018 contemporary infrastructure: both ASCENDING FROM ASCENDING ASCENDING FROM ASCENDING FROM Surprisingly, derivative fromFROM many the immaterial, floating somewhere THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THEdata LIQUID HORIZON science fiction narratives, the between servers, users and Kati Ilves Ilves the Ilves corporate world hasKati brought banks,Kati andIlves the physical. When Kati it ASCENDING FROM foretold ASCENDING ASCENDING ASCENDING FROM processes in fictionFROM to malfunctions FROM or is badly designed, THE LIQUID HORIZON THE LIQUID THE LIQUID HORIZON THEitLIQUID HORIZON life. The consequences ofHORIZON their it can entangle and fluster; can Kati Ilves Kati Ilves Katiinaccurate, Ilves actions have been noted: going by produce incompleteKati or Ilves ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM the results of prominent research inconsistent data, aka dirty data. THE LIQUID HORIZON THEglobe, LIQUID HORIZON THE LIQUID HORIZON LIQUID HORIZON labs across the it has been Using satellites for bothTHE visual Kati Ilves Kati Ilves Kati Ilves Kati Ilves stated that we are in the thick of and aural parts of the installation, ASCENDING FROMchange ASCENDING FROM ASCENDING FROMan immersive ASCENDING FROM climate and its irreversible Suisalu has created THE LIQUID HORIZON THEThe LIQUID HORIZON LIQUIDresponding HORIZON toTHE LIQUID HORIZON transformation. nature, as well as THE landscape visitors’ Kati Ilves Kati Ilves Kati in Ilves Kati Ilves the future, of the current geological presence the room. The image ASCENDING FROM FROM ASCENDING ASCENDING FROM epoch is underASCENDING heavy debate. The – an animatedFROM picture originating THE LIQUID HORIZON LIQUID HORIZON THE LIQUID HORIZON HORIZON natural worldTHE we’re inhabiting from a weather satelliteTHE feedLIQUID – is Kati Ilves Kati Ilves Kati Ilves will wither away and become paired up Ilves with signals recordedKati from ASCENDING FROMas theASCENDING FROM ASCENDING FROM FROM extinct, planet succumbs to malfunctioning satellites,ASCENDING which are THE LIQUID HORIZON THEand LIQUID HORIZON THE LIQUID THE LIQUID HORIZON overpopulation over-exploitation played backHORIZON on a modified record Kati Ilves Kati Ilves Kati Ilves Kati Ilves by the current dominant species. player whose speed is dependent ASCENDING FROM alongside ASCENDING FROM ASCENDING FROM ASCENDING FROM Humans, their synthetic on the position of those satellites THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON companions, have pushed nonover the horizon near the exhibition Kati Ilves IlveslargeKati Ilves Kati Ilves human forms of lifeKati towards space. This artificial satellite-created ASCENDING FROM ASCENDING FROM ASCENDING FROM scale extinction, brought onFROM by rising ASCENDING landscape could be stretched out THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID global temperatures, acidification over cities or states to cover up the HORIZON Kati Ilves Kati Ilvesof the Kati Ilvesby the malfunctioning Kati Ilves of oceans, and the shrinking gap produced ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM Arctic ice sheet. “dirty data”. THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON Kati Ilves Kati Ilves far Ilves Kati Ilves This process predicts a realm With Kati the tangibility of the material ASCENDING FROM FROM ASCENDING FROM away ASCENDING FROM more complexASCENDING than the current one, world slowly slipping and new THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON defined by an environment where means of materiality on the rise, Kati Ilves Kati Ilves Kati Ilvesaims to look closely Kati Ilves technology levels nature and the the exhibition ASCENDING FROMof theASCENDING FROM ASCENDING FROMemerging ASCENDING FROM notions biological, natural at the possibilities from THE LIQUID HORIZON THE LIQUID THE LIQUID HORIZON THE LIQUID HORIZON and terrestrial need to be HORIZON revised. these new horizons. Katja Novitskova Kati Ilves Kati Ilves of the Kati investigating Ilves Kati Ilves Maybe it’s only symptomatic has been the nexus ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON27THE LIQUID HORIZON THE LIQUID HORIZON

Kati Ilves Kati Ilves Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM TheASCENDING FROMHito Steyerl ASCENDING FROM between technology, ecology and artist and theorist THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON seeing by drawing her own source has found data to be the new tool Kati Ilves from online data Katibanks. Ilves Katiwhich, Ilves considering theKati Ilves material for survival, ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM Her research shows how seeing has choice of vocabulary, will place us THE LIQUID HORIZON THE LIQUIDagents HORIZON atTHE LIQUID HORIZON LIQUID HORIZON been outsourced to robotic the dawn of a new epoch.THE Terms Kati Ilves Ilves Ilves and “harvesting”, Kati Ilves operating in the depthsKati of the sea like data Kati “farming” ASCENDING ASCENDING ASCENDING FROM are ASCENDING FROM and onFROM distant celestial bodies, FROM “mining” and “extraction” THE LIQUID HORIZONthose THEnew LIQUID HORIZON all THE LIQUID HORIZON experiencing horizons rather pastoral, allowingTHE LIQUID HORIZON Kati Ilves Kati Ilves Katiera Ilves for us. Navigating across big-datathe current to be defined as Kati Ilves ASCENDING FROM ASCENDING ASCENDING FROM provided landscapes, her works FROM Data Neolithic and place us –ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON LIQUID HORIZON create another visual articulation the current inhabitants – in THE a state 2 Kati Katiof Ilves Kati Ilves The recent Kati Ilves ofIlves natural life. In this time biotic of transformation. ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM crises, vast amounts of data define dystopian sci-fi trilogy Hunger THE LIQUID HORIZON THE LIQUID HORIZON Games THE LIQUID THE LIQUID HORIZON ecology on the planetary scale. createdHORIZON a post-apocalyptic Kati Ilves Kati Ilves Kati Ilves Kati Ilves Here, the focus shifts from one high tech realm, where people of the ASCENDING FROM location ASCENDING FROM lower ASCENDING FROM ASCENDING FROM geographical to its many classes hunted and gathered THE LIQUID HORIZON THEand LIQUID HORIZON for THE LIQUID HORIZON THE LIQUID HORIZON surfaces, modelled manipulated survival while using developed Kati Kati Ilves Kati Kati Ilves byIlves the software industry. platforms for Ilves communication. ASCENDING FROM ASCENDING FROM Mixtures ASCENDING FROM and ASCENDING FROM of the archaic THE LIQUID HORIZON LIQUID HORIZON contemporary THE LIQUID are HORIZON THE of LIQUID HORIZON Similarly, Guan THE Xiao’s installation symptomatic Kati Ilves Ilves Katiday: Ilves questions simulation byKati displaying the current we are farming, Kati Ilves ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM how concepts such as “archaic” and harvesting, mining and excavating THE LIQUID HORIZON THEdimensions LIQUID HORIZON THE for LIQUID HORIZON THE LIQUID HORIZON “natural” gain other under again new material, partially Kati Ilves Kati Ilves Kati Ilves Kati Ilves software engineering. By juxtaposing out of fear and uncertainty, but ASCENDING FROM ASCENDING FROM alsoASCENDING FROM FROM “old” and “new” and blending images because these activitiesASCENDING were THE LIQUID HORIZON THE LIQUID HORIZON built THEinto LIQUID HORIZON THE LIQUID HORIZON from different cultures and regions, our genetic survival kits Kati Katito Ilves Kati Ilves a Ilves visual language difficult pin millenniaKati ago.Ilves “Excavating” the ASCENDING ASCENDING FROM past ASCENDING FROM ASCENDING FROM down FROM to one common denominator also describes Laura Põld’s THE LIQUID HORIZON THE LIQUID HORIZON practice. THE LIQUID HORIZON emerges. This pan-historical For the exhibition THE she LIQUID HORIZON Kati Ilves Ilves Kati materials, Ilves Kati Ilves uses archaic such as approach, varying fromKati displaying ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM clay, reeds, wood and wool, in a relicts or fake archaic artefacts to THE LIQUID HORIZON commodities THE LIQUIDcan HORIZON THE LIQUID installation. HORIZON THE LIQUID HORIZON pottery-based Her sitecontemporary be Kati Ilves Kati Ilves Kati Ilves used to describe Norman Orro’s work specific work takes architecture Kati Ilves ASCENDING FROM ASCENDING FROM intoASCENDING FROM ASCENDING FROM consideration: the former LU as well. The bodily compartments THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON biscuit factory building is rich in of his sound piece – rock-imitating Kati Ilves Katito Ilves Kati Ilves architectural layers and Põld work Kati Ilves loudspeakers – contribute a ASCENDING FROM ASCENDING FROM begins ASCENDING FROM ASCENDING FROM from considerations of Flintstones-era theme park. Merged THE LIQUID THE THE HORIZON its red LIQUID brick wall. Blending THE theseLIQUID HORIZON intoHORIZON a landscape, thisLIQUID setting HORIZON could Kati Ilvesas a graveyard of Kati Ilves Kati Ilves with ancient Kati Ilves specific aesthetics serve Earthly ASCENDING FROM warrior ASCENDING ASCENDING FROM masks andFROM warfare-related relicts.FROM When the ASCENDING planet underneath THE LIQUID HORIZON THEthese LIQUID HORIZON objects, THE LIQUID LIQUID HORIZON Põld’s HORIZON created zoneTHE blends is long gone, dead, replicas Kati Ilves Kati Ilves Kati Ilves the dichotomies of the archaic andKati Ilves erected on the digitally composed ASCENDING FROM ASCENDING ASCENDING FROM and ASCENDING FROM domestic public, surfaces running on vast data FROM contemporary, THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON and war and peace. Her works could collections will be our guideposts. Kati Ilves Kati Ilves Ilves Kati Ilves serve as Kati a monument of the in ASCENDING FROM ASCENDING FROM between, ASCENDING FROM ASCENDING FROM pregnant with speculations, THE LIQUID HORIZON THE LIQUID HORIZON references THE LIQUID and HORIZON prophecies. THE LIQUID HORIZON 2 Kati Ilves Kati Ilves Kati Ilves Hito Steyerl, “A Sea of Data: Apophenia and Pattern (Mis-)Recognition,” e-flux, no.72 (April 2016),Kati Ilves http://www.e-flux.com/journal/72/60480/a-sea-of-data-apophenia-and-pattern-mis-recognition/. ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON28THE LIQUID HORIZON THE LIQUID HORIZON

Kati Ilves Kati Ilves Kati Ilves Kati Ilves ASCENDING FROM ASCENDING FROM ASCENDING FROMpicture ASCENDING FROM The Port of Rotterdam a rather ambivalent that THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON on the Shore of the Unknown cannot be measured on a binary Kati Ilves Kati Ilves Kati Ilves Kati Ilves Rumour has it that there are more good–bad scale. ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM cats online than exist in the real THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON world. And although it is impossible Progressing into the same realm, Kati Ilves Kati Ilvesmore Kati Ilves Kati Ilves to count, there are probably the video works by Anni Puolakka ASCENDING ASCENDING FROM ASCENDING FROM unravel ASCENDING FROM of FROM other animals too. Most of the and Jaakko Pallasvuo the THE LIQUID HORIZON LIQUID LIQUID HORIZON THE LIQUID HORIZON pictures get THE uploaded andHORIZON circulated THE characteristics of the attention Kati Ilves Kati Ilves Kati Ilves by users, while other images economy and present a truthfulKati Ilves ASCENDING FROM a carefully ASCENDING FROM ASCENDING FROM activities ASCENDING FROM represent designed picture of prevalent THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON strategy. This is done to provoke online. Inhabited by social media Kati Ilves Kati Ilves Kati Ilves Kati human sympathy and enthusiasm, “influencers” and “taste-makers”, theIlves ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING and to sugar-coat unpleasantness. current digital landscape serves well FROM THE LIQUID HORIZON LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON For the sameTHE reason, one of the to monetise personal endeavours. Kati Ilves Kati Ilves Kati Ilves Kati Ilves first games built on blockchain Puolakka and Pallasvuo have staged ASCENDING FROM ASCENDING ASCENDING ASCENDING FROM technology, which also madeFROM a video seriesFROM with a Youtuber THE LIQUID HORIZON THE LIQUID THE LIQUID HORIZON THE LIQUID crypto-currencies such asHORIZON Bitcoin protagonist: a dancer whose videos HORIZON Kati Ilves Kati revolves Ilves Kati Ilves Ilves and Ethereum possible, get shared online; this in and ofKati itself ASCENDING FROM ASCENDING FROM ASCENDING FROM monetisation. ASCENDING FROM around the image of a cat. Although creates value through THE LIQUID HORIZON THE LIQUIDincludes HORIZON THE LIQUID from HORIZON THEchannels LIQUID HORIZON the game CryptoKitties a Stretching Youtubers’ Kati Ilves Katimain Ilvespurpose Ilves Kati Ilves satisfaction factor, its to theKati larger pool of contemporary ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM is to make money online. consumer culture, this timely THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON articulation speaks for the current Kati Ilves Kati Ilves Kati Ilves Kati Ilves Along with other practices, both (Western) person through capital ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM money and making money have distribution. As both digital THE LIQUID HORIZON THE LIQUID HORIZON LIQUIDand HORIZON THE LIQUID HORIZON undergone radical shifts, and many THE platforms the content they Kati Ilves Kati Ilves Ilvesoutdated sooner Kati regulations and systems have been carry Kati become thanIlves ASCENDING FROM ASCENDING FROM ASCENDING ASCENDING FROM restructured. Cryptocurrencies are their offline orFROM material equivalents, THE LIQUID HORIZON THEwith LIQUID HORIZON THE HORIZON THEsoon LIQUID used in parallel conventional theLIQUID Youtubers’ culture will be HORIZON Kati Ilves Katihave Ilvesmoved Katilike Ilves Kati currencies, workplaces floating a fossil in the ocean ofIlves ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM online, and the nature of labour is the forgotten Internet. Maybe it will THE LIQUID HORIZON THE LIQUID THE HORIZON HORIZON radically changing. In his HORIZON film, Sol be LIQUID pushed ashore some THE placeLIQUID for Kati Ilves Kati Ilves Kati Ilves Kati Ilves Archer investigates the diminishing further investigation as a telling ASCENDING FROM ASCENDING FROM ASCENDING FROM role of manualASCENDING labour in the FROM port of relic of this era. THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON Rotterdam, which has been brought Kati Ilves Kati Ilves Kati Ilves Kati Ilves Future of DNA about by amazing developments in ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM It might not only be the Youtube automation and robotics. Allowing THE LIQUID HORIZON THE HORIZON THE LIQUID LIQUID– HORIZON heroes and HORIZON their cultureTHE fossilizing the aesthetics of LIQUID “capitalist Kati Ilves Kati with Ilvesscience Kati Ilves about the future Kati Ilves the key question futurism” to intertwine ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM has always been the human role fiction, the film operates in an THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THEextinct LIQUID HORIZON in it. Will humans become amplified version of realism, i.e. Kati Ilves Kati Ilves Kati Ilves Kati Ilves as dinosaurs did many millennia the scenes look familiar yet they ASCENDING FROM ASCENDING FROM ASCENDING FROM ago? Where do the natural and areFROM presented ASCENDING with an odd intensity. THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON technological intersect? What is The emergence of the unknown, Kati Ilves Kati Ilves Kati Ilves Kati Ilves the correct balance between the also touched upon in many debates ASCENDING FROM theASCENDING FROM ASCENDING ASCENDING FROM biological, theFROM synthetic and the addressing shift from labour THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID THE us LIQUID HORIZON other? Will HORIZON otherness strike power to processes performed Kati Ilves Kati Ilves Katitechnological Ilves Kati Ilves as alien, or queer? without human assistance, leads to ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON29THE LIQUID HORIZON THE LIQUID HORIZON

Kati Ilves Kati Ilves Kati Ilves Kati Ilves ASCENDING FROM oftenASCENDING FROM chimpanzee ASCENDING FROM ASCENDING FROM Speculation depicts the future figures originates from THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON without biological humans, and with an encounter with “chimpanzee zero”, Kati Ilves Kati Ilves Ilves the emergence of the non-human, which heKati found standing on a tableKati Ilves ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM hybrids or simply otherness. with a book resting on its head in a THE LIQUID HORIZON THE LIQUID HORIZON curiosity THE LIQUID LIQUID HORIZON shop. HORIZON By making aTHE mould Kati Ilves Kati Ilves IlvesWald-Lasowski Kati Ilves The basis for this speculation lies from theKati original, ASCENDING ASCENDING ASCENDING FROM ASCENDING FROM withinFROM the developments of the FROM started replicating it and giving THE LIQUID HORIZON THE LIQUID HORIZON THEcopy LIQUID HORIZON THE LIQUID HORIZON scientific research conducted in each its own characteristics. Kati Ilves Ilves Kati Kati Ilves medicine, engineering Kati and biology. Similar to labIlves practices, where data ASCENDING FROM project ASCENDING ASCENDING ASCENDING FROM Joey Holder’s steps intoFROM is extracted from FROM DNA for further THE LIQUID THE LIQUID THE LIQUID HORIZON THE LIQUID HORIZON the HORIZON near future to unravel theHORIZON research purposes, Wald-Lasowski Kati Ilves Kati Ilves Ilves the familiar andKati Ilves possibilities rooted in today’s operatesKati between ASCENDING FROM ASCENDING FROM ASCENDING FROMthrough ASCENDING FROM scientific practice. The core the unknown. Shaping each THE LIQUID HORIZON LIQUID HORIZON THE LIQUID HORIZON LIQUID HORIZON “material” in herTHE project is DNA: the chimpanzee a larger pictureTHE of future Kati Ilves Kati Ilves Kati Ilves unique code defining every form of breeds and genders, he bends and Kati Ilves ASCENDING FROM research ASCENDING FROM warps ASCENDING FROM ASCENDING FROM life. Genome is increasingly in great detail the speculative THE LIQUID HORIZON LIQUID HORIZON visions THE LIQUID HORIZON THE LIQUID HORIZON used in medicalTHE science to prevent emerging from our current Kati Ilves Kati and Ilvesit Kati Ilves Kati Ilves and cure chronic illnesses, understanding of animal and ASCENDING FROM to be ASCENDING ASCENDING FROM FROM is understood essential forFROM natural life. The sculptures inASCENDING their THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON solving many major health problems. assembled environments act like Kati Ilves bodies are now Kati Ilves Kati Human increasingly molecules in Ilves DNA helices as they Kati Ilves ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM mapped and digitised, and the could possibly take new forms THE LIQUID HORIZON THE LIQUID HORIZON under THE even LIQUID HORIZON THE LIQUID HORIZON growth of DNA-based data banks more intense intervention Kati Ilves Kati Ilves Kati Ilves Kati Ilves may lead to other operations, such and engineering. ASCENDING FROM andASCENDING FROM ASCENDING FROM ASCENDING FROM as modelling designing DNA. THE LIQUID HORIZON THE LIQUID HORIZON Nicholas THE LIQUID HORIZON THE LIQUID HORIZON In the future envisioned by Holder, Riis works with material Kati Ilves life will be increasingly Kati Ilves Kati Ilves he models theKati Ilves human even more severely: ASCENDING FROM In other ASCENDING ASCENDING FROM ASCENDING FROM engineered. words: the FROM familiar form further by reshaping THE LIQUID HORIZON THE LIQUID HORIZON and THE LIQUID HORIZON LIQUID HORIZON future will be predominantly rethinking binaries. HisTHE pieces Kati Ilves Katihuman Ilves Kati Ilves synthetic, with only a few are hybrid forms of various kinds Kati Ilves ASCENDING FROM ASCENDING ASCENDING FROM ASCENDING FROM or anthropomorphic elements. FROM of otherness. Drawing from the THE LIQUID HORIZON THE LIQUID HORIZON queerness THE LIQUID HORIZON THE LIQUID HORIZON of material and form, Kati Ilves Kati Ilves Kati Ilves The anthropomorphic approach he allows practicality to intersect Kati Ilves ASCENDING FROM ASCENDING ASCENDING ASCENDING FROM towards the non-human has notFROM with uncanniness.FROM The outcome is a THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON only been broadly theorised about, sculptural, well-designed object that Kati Ilves Ilves Kati Ilves Kati Ilves but actually realised inKati various is both alluring and alarming. In the ASCENDING FROM ASCENDING FROM Freudian ASCENDING FROM practised ASCENDING FROM ways and manners. Often the form psychoanalysis THE LIQUID HORIZON LIQUID HORIZON byTHE LIQUID HORIZON THE LIQUID HORIZON given to certainTHE machines, e.g. Melanie Klein, it is argued that Kati Ilves Ilves Ilves about eating Kati Ilves Mars rovers, resemblesKati either the an infantKati fantasises ASCENDING ASCENDING FROM its mother ASCENDING FROMbreastfed. ASCENDING FROM humanFROM or close companions, e.g. while being THE LIQUID HORIZON THEbeen LIQUID HORIZON Could THE LIQUID HORIZON THE LIQUID HORIZON pets. Humans have extensively this be applied to nonKati Ilves Kati Ilves Kati Ilves Kati Ilves replicating themselves through humans too? In terms of growing and ASCENDING FROMforms.ASCENDING ASCENDING FROM ASCENDING FROM non-human Replicating, FROM progressing, certain acts of violence THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON cloning, stretching, distorting, are often practised. To perform and Kati Ilves copying, pasting, Kati Ilves Katitrauma Ilves is essential in Kati Ilves mixing, erasing live through ASCENDING ASCENDING ASCENDING FROM ASCENDING FROM and soFROM forth are key tools for FROM gaining identity, and this is what THE LIQUID HORIZON THE LIQUID HORIZON these THE odd LIQUID HORIZON THE LIQUID HORIZON Simon Wald-Lasowski. His massive forms might be trying Kati Ilves installation withKati Kati Ilves Kati Ilves spatial 29 Ilves obscure to accomplish. ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON30THE LIQUID HORIZON THE LIQUID HORIZON

Kati Ilves Kati Ilves Kati Ilves Kati Ilves ASCENDING FROM from ASCENDING FROM ASCENDING FROM ASCENDING FROM Ascending the Liquid Horizon progress was characteristic of both THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON Imagining a post-human future often the Soviet Union, eager to win Kati Ilves Ilves Katiagainst Ilves America, and to Kati Ilves leads to envisioningKati a catastrophic the race ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING event that might either put an end to contemporary corporations and their FROM THE LIQUID HORIZON THE LIQUID LIQUID HORIZON THECaptain LIQUID HORIZON life, especially human life,HORIZON or change THE little start-up companions. Kati Ilves Kati it’s Ilves Ilves NemoKati confirmed to Professor Kati Ilves it to its core. After 9/11 generally ASCENDING FROM that aASCENDING ASCENDING FROMstory that ASCENDING FROM Aronnax in Verne’s there believed major threat FROM – THE LIQUID HORIZON LIQUID HORIZON THE HORIZON a pandemic, THE a terrorist attack or wasLIQUID zinc, iron, silver andTHE goldLIQUID at the HORIZON Kati Ilves Ilves – Kati Kati Ilves bottom ofIlves the sea and that mining an incident leading Kati to WWIII 3 ASCENDING ASCENDING ASCENDING FROMfeasible. ASCENDING is FROM lurking around the corner.FROM It may them was certainly Drawing FROM THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON LIQUID HORIZON come from an unstable situation from Vello Vinn’s work, THE Kristina Kati Ilves KatiorIlves Ilves KatiofIlves anywhere in the world emerge ÕllekKati looks into the undertakings ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM from increasing social inequality. It Nautilus Minerals Inc., and focuses THE LIQUID HORIZON THEthat LIQUID HORIZON THE HORIZON HORIZON is also believed developments on LIQUID an underwater vesselTHE thatLIQUID will Kati Ilves Kati Ilves Kati Ilves Kati Ilves in technology might provide dive deep into the sea in 2019. ASCENDING FROM to problems ASCENDING FROM FROM ASCENDING FROM solutions such as global ASCENDING Structured around the opportunities THE LIQUID HORIZON THE LIQUID HORIZON LIQUID THEmaterial LIQUID HORIZON population growth, climate change, THE provided byHORIZON contemporary Kati Ilves Kati KatiÕllek Ilves stages Verne’s Kati Ilves migration crises and theIlves lack of science, ASCENDING FROM Corporate ASCENDING FROM ASCENDING FROM resources. and scientific prophecy to the full. She ASCENDING looks at the FROM THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE HORIZON interests often overlap in finding Nautilus by Nautilus MineralsLIQUID Inc. Kati Ilves Kati Ilvesof the Kati Ilvesto the liquid horizon. Kati Ilves solutions, and the explorers as it ascends ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM contemporary world dive deep into THE LIQUID HORIZON LIQUID HORIZON THEand LIQUID HORIZON the unknown.THE LIQUID HORIZON THE Contemporary liquid, solid Kati Ilves Kati Ilves Kati Ilves Kati Ilves digital surfaces have been highly ASCENDING FROM FROM ASCENDING FROM ASCENDING FROM The sea shell ASCENDING Nautilus and the mapped and manipulated. The THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID amounts HORIZON THEreshaping LIQUID HORIZON rockets ascending on the horizon increasing of data Kati Ilves Kati Ilves Kati Ilves Kati Ilves line in Vello Vinn’s work belong the ecology on a planetary scale lead ASCENDING ASCENDING FROM ASCENDING FROM realm ASCENDING FROM to FROM the realm without humans. to a more ambiguous where THE LIQUID HORIZON THE LIQUID HORIZON THE HORIZON THE LIQUID Remotely operated or without any theLIQUID abyss between the natural and HORIZON Kati Ilves Kati seem Ilves to Kati Ilves has been masterfully Kati Ilves human assistance, they the constructed ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM bridged. It might be a coral reef or know their way through the open THE LIQUID HORIZON HORIZON THE LIQUID HORIZON LIQUID HORIZON a landscape, an animal, THE a fossil or skies. In the THE earlyLIQUID 1970s when the Kati Ilves Kati Ilves Kati Ilves Kati Ilves a mineral – or it might all be smoke work was created, Estonia was ASCENDING FROM ASCENDING FROM ASCENDING ASCENDING FROM and mirrors – FROM made possible by part of the Soviet Union, which THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON channelled most of its resources into advanced engineering operations Kati Ilves Kati Ilves in various eco-systems. AcrossKati Ilves sciences catering toKati theIlves military. ASCENDING ASCENDING FROM ASCENDING FROM ASCENDING FROM those landscapes, the contemporary In FROM terms of efficiency and growth, THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THEmight LIQUID HORIZON Nautilus sails. The horizon manual dexterity was swapped for Kati Ilves Kati Ilves This Ilves have Kati altered, but there are still Kati Ilves automation whenever possible. ASCENDING FROM ASCENDING FROM ASCENDING FROM full of ASCENDING uncharted territories potential. FROM “progressive” approach left many THE LIQUID HORIZON THE LIQUID THE HORIZON THE LIQUID HORIZON TheLIQUID world might have changed “living fossils” floating onHORIZON top of Kati Ilves Kati Ilves Kati Ilves slightly, but this story is not Kati Ilves or sunk at the bottom of the sea: ASCENDING FROM underwater ASCENDING FROM ASCENDING FROM ASCENDING FROM going anywhere. monstrous military THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON vessels resurfaced from time to time Kati Ilves Kati Kati Ilves Kati Ilves from the netherworld toIlves show they ASCENDING FROM ASCENDING FROM ASCENDING FROM were “still alive”. Perhaps this applies ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON THE LIQUID HORIZON even more broadly: this remorseless 3 Kati Ilves Kati Ilves Ilves Kati Ilves Jules Verne, Twenty Thousand Leagues Under the Sea: A Kati Tour of the Underwater World, translated from French by F. P. Walter, published online in 2007, http://jv.gilead.org.il/fpwalter/ ASCENDING FROM ASCENDING FROM ASCENDING FROM ASCENDING FROM THE LIQUID HORIZON THE LIQUID HORIZON 31THE LIQUID HORIZON THE LIQUID HORIZON

Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE Kati Ilves PAR-DELÀ L’HORIZON LIQUIDE

PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ

Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON Kati Ilves L’HORIZON

LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE LIQUIDE

Kati Ilves Kati Ilves Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ Prologue : Il était une fois tel périple, d’une manière hautement L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE créative, mélange d’aventure et de il n’y a pas si longtemps KatiEn Ilves Kati Ilves Kati Ilves 1971, l’artiste graphique estonien science-fiction. Les personnages Kati Ilves PAR-DELÀ PAR-DELÀ PAR-DELÀ Vello Vinn termina « Les Fusées », triomphent de ces obstacles grâcePAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE au L’HORIZON LIQUIDEque Verne L’HORIZON LIQUIDE une eau-forte dans laquelle un sous-marin Nautilus, Katilarge Ilvescoquillage flotte Kati Ilves de Ilvesl’invention de Kati Ilves au centre a nomméKati d’après PAR-DELÀ PAR-DELÀ PAR-DELÀ l’Américain Robert Fulton, et qu’il PAR-DELÀ l’image, accompagné d’un groupe L’HORIZON L’HORIZON LIQUIDE a décrit L’HORIZON LIQUIDE L’HORIZON LIQUIDE de LIQUIDE fusées qui s’élèvent à l’horizon. par le menu à une époque KatiLe Ilves Kati Ilves Kati Ilves Kati Ilves coquillage et les fusées – toute où il s’agissait bien plus d’une PAR-DELÀ PAR-DELÀ PAR-DELÀ l’image, à vrai dire – sont riches idée hardie dans la cervelle d’un PAR-DELÀ L’HORIZON L’HORIZON L’HORIZON LIQUIDE L’HORIZON LIQUIDE de LIQUIDE détails dont chacun révèleLIQUIDE des inventeur que d’un vaisseau réel. Katiaspects Ilves élaborés du contenu Kati Ilves de Le voyageKati du Ilves Nautilus se termine Kati Ilves PAR-DELÀ PAR-DELÀ PAR-DELÀ de façon incertaine : le sous-marinPAR-DELÀ l’œuvre. Les motifs répétés, comme L’HORIZON LIQUIDE L’HORIZON LIQUIDE LIQUIDE refera-t-il L’HORIZON LIQUIDE celui du coquillage qui ne cesse de estL’HORIZON à la dérive, peut-être Katireparaître, Ilves Kati Ilves Kati Ilves surface un jour. Et, tout comme sonKati Ilves manipulent la perception PAR-DELÀ PAR-DELÀ du spectateur. C’est làPAR-DELÀ un élément homonyme animal, il se peut qu’il PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE LIQUIDE L’HORIZON LIQUIDE central de la composition, que le soitL’HORIZON toujours « vivant », ou qu’il soit Katimoindre Ilves Kati Ilves Kati Ilves possible Kati de leIlves réactiver. détail tend à mettre en PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ avant. C’est presque comme s’il L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE invitait le spectateur à y regarder de Cette expression de la vie sousKatiplus Ilves Kati Ilves Ilves Kati Ilves près, à s’efforcer de déchiffrer marine à Kati travers les possibilités PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ infinies imaginées par Verne a l’ensemble. Le coquillage est pareil L’HORIZON LIQUIDE LIQUIDE connu L’HORIZON LIQUIDELe Nautilus L’HORIZON LIQUIDE une renaissance. – à un nautile – unL’HORIZON mollusque marin Katipélagique Ilves Kati Ilves Kati Ilves Kati Ilves considéré comme un comme le suggère l’origine du nom – PAR-DELÀ PAR-DELÀ PAR-DELÀ n’a pas disparu : il vogue sur des PAR-DELÀ « fossile vivant » – un taxon L’HORIZON LIQUIDE L’HORIZON L’HORIZON LIQUIDE L’HORIZON LIQUIDE inexplorées. Les scénarios survivant, par opposition aux LIQUIDE mers Katiespèces Ilves éteintes. Issu de KatilaIlves Kati Kati Ilves spéculatifs deIlves Verne ont été adaptés famille PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ des Nautilidae, le nautile est en fait et absorbés par des entreprises L’HORIZON L’HORIZON L’HORIZON LIQUIDE L’HORIZON LIQUIDE l’unLIQUIDE des deux seuls membres LIQUIDE de technocratiques mondiales qui Katicette Ilvesfamille à n’avoir pas Katidisparu. Ilves Kati Ilvesscientifique et Kati Ilves mêlent recherche PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ Cela dit, « survivant » est une sorte intérêts privés. En 2019, la première L’HORIZON LIQUIDE L’HORIZON LIQUIDE entreprise L’HORIZON LIQUIDEminière L’HORIZON LIQUIDE d’euphémisme, dans le cas présent. d’extraction en KatiNotre Ilves nautile est on neKati Ilves Kati Ilves Kati Ilves peut plus eaux profondes doit commencer PAR-DELÀ PAR-DELÀ vivant, et il surgit de l’horizon à extrairePAR-DELÀ des minéraux tels que PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE avec son armée de fusées. cuivre, cobalt, nickel, or et platine, en Kati Ilves Kati Ilves Ilves Kati Ilves fonction Kati des besoins du marché. Les PAR-DELÀ PAR-DELÀ PAR-DELÀ Environ cent ans avantPAR-DELÀ que Vinn robots télécommandés qui glisseront L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE n’achevât son œuvre, Jules Verne, né dans les profondeurs du Pacifique KatiàIlves Kati peut-être Ilves Katide Ilves Kati Ilves Nantes, publiait son livre ont l’aspect mammifères PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ le plus influent, Vingt mille lieues marins ou de coraux. Leurs corps L’HORIZON LIQUIDE L’HORIZON L’HORIZON LIQUIDE sous les mers. Tour du mondeLIQUIDE sousontL’HORIZON été conçus LIQUIDE pour ressembler Katimarin Ilves1 . En décrivant unKati Ilves Kati Ilves voyage sousà des créatures des fonds marins Kati Ilves PAR-DELÀ PAR-DELÀ PAR-DELÀ marin sur une distancePAR-DELÀ de vingt mille à la recherche de minéraux des L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE lieues, distance permettant de faire abysses. Nautilus Minerals Inc. est Katideux Ilvesfois le tour du monde, Kati Ilves Katicompagnie Ilves l’histoire la première à explorer Kati Ilves PAR-DELÀ PAR-DELÀ PAR-DELÀ les grands fondsPAR-DELÀ évoquait divers obstacles qui commercialement L’HORIZON LIQUIDEêtre rencontrés L’HORIZON LIQUIDE LIQUIDE L’HORIZON LIQUIDE pourraient lors d’un et àL’HORIZON se tourner vers les horizons Kati Ilves Kati Ilves Kati Ilves Kati Ilves 1 Publié pour la première fois en France en 1869-1870. PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE 34 L’HORIZON LIQUIDE L’HORIZON LIQUIDE

Kati Ilves Kati Ilves PAR-DELÀ sous-marins. Si l’onPAR-DELÀ compare à la L’HORIZON LIQUIDE L’HORIZON LIQUIDE recherche sur la terre ferme, on Kati Ilves Kati sur Ilves sait très peu de choses ce PAR-DELÀ PAR-DELÀ qui gît par-delà l’horizon liquide. L’HORIZON LIQUIDE L’HORIZON LIQUIDE La spéculation, comme d’habitude, Kati Ilves Kati Ilves est largement tributaire de PAR-DELÀ PAR-DELÀ l’imagination. Le film de scienceL’HORIZON LIQUIDE LIQUIDE fiction PacificL’HORIZON Rim, sorti en 2013, Kati Ilves Kati Ilves concluait : « Nous avons toujours PAR-DELÀ PAR-DELÀ pensé que la vie extraterrestre L’HORIZON LIQUIDE viendrait des L’HORIZON étoiles, maisLIQUIDE elle est Kati Ilves Ilves marins – venue des lointainsKati gouffres PAR-DELÀ PAR-DELÀ dans d’un portail inter-dimensionnel L’HORIZON LIQUIDE L’HORIZON LIQUIDE l’océan Pacifique ». Le Nautilus, Kati Ilves Kati Ilves fossile vivant, pourrait bien revenir, PAR-DELÀ PAR-DELÀ avec une forte tonalité extraterrestre, L’HORIZON LIQUIDE L’HORIZON LIQUIDE de profondeurs sur lesquelles nul ne Kati Ilves Kati Ilves s’est encore penché. PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE 2018 Kati Ilves Kati Ilves Héritier inattendu de nombreux PAR-DELÀ PAR-DELÀ récits de science-fiction, le monde L’HORIZON LIQUIDE L’HORIZON LIQUIDE de l’entreprise a donné corps Kati Ilves Kati Ilves aux processus anticipés par la PAR-DELÀ PAR-DELÀ fiction. Les conséquences de leurs L’HORIZON LIQUIDE L’HORIZONconnues LIQUIDE actions sont également : Kati Ilves Kati Ilvesdes si l’on en croit les résultats PAR-DELÀ PAR-DELÀ principaux laboratoires de recherche L’HORIZON LIQUIDE L’HORIZON mondiaux, il apparaît que LIQUIDE nous Kati Ilves Kati Ilves sommes au cœur du changement PAR-DELÀ climatique et d’unePAR-DELÀ transformation L’HORIZON LIQUIDE L’HORIZON irréversible. La nature et leLIQUIDE devenir Kati Ilves Kati Ilves de l’ère géologique actuelle font PAR-DELÀ PAR-DELÀ débat. Le monde naturel dans L’HORIZON LIQUIDE L’HORIZON LIQUIDE lequel nous habitons s’effacera, Kati Ilves Kati Ilves s’éteindra, la planète succombant à PAR-DELÀ la surpopulation dePAR-DELÀ l’actuelle espèce L’HORIZON LIQUIDE LIQUIDEpar dominante, etL’HORIZON à la surexploitation Kati Ilves Kati cette même espèce. LesIlves humains, PAR-DELÀ secondés par leursPAR-DELÀ compagnons L’HORIZON LIQUIDE artificiels, ontL’HORIZON conduit lesLIQUIDE formes de Kati Ilves Kati Ilves vie non humaines à une extinction PAR-DELÀ massive, hâtée par PAR-DELÀ la hausse L’HORIZON LIQUIDE L’HORIZON LIQUIDE des températures mondiales, Kati Ilves Kati Ilves l’acidification des océans, et la PAR-DELÀ PAR-DELÀ réduction de la banquise arctique. L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE 35

Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ Ce processus irréversible annonce L’HORIZON LIQUIDE L’HORIZON LIQUIDE un règne bien plus complexe Ilves que leKati règne actuel, défini par Kati Ilves PAR-DELÀ PAR-DELÀ un environnement dans lequel la L’HORIZON L’HORIZON technologieLIQUIDE se mesure à la nature et LIQUIDE Ilvesde biologique, naturel Kati Ilves où lesKati notions PAR-DELÀ PAR-DELÀ et terrestre doivent être révisées. L’HORIZON LIQUIDE L’HORIZON LIQUIDE Peut-être est-il alors symptomatique Ilves que nous soyons Kati Ilves de la Kati situation PAR-DELÀ PAR-DELÀ si obsédés par l’idée de capturer L’HORIZON LIQUIDE L’HORIZON LIQUIDE et recueillir la vie biologique non Katiau Ilves Kati Ilves humaine moment précis de son PAR-DELÀ PAR-DELÀ extinction. Presque tout est recueilli, L’HORIZON préservé, et LIQUIDE le résultat estL’HORIZON que nous LIQUIDE Kati Ilves Kati Ilves avons une collection de données PAR-DELÀ visuelles suffisamment intensesPAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE et précises pour construire une Ilves entité. Le processus Kati Ilves toute Kati nouvelle PAR-DELÀ PAR-DELÀ d’extinction est presque inversement L’HORIZON LIQUIDE LIQUIDE proportionnel au progrès L’HORIZON de la Katide Ilves Kati Ilves collecte données. Taavi Suisalu, PAR-DELÀ PAR-DELÀ partant de ce principe, montre L’HORIZON LIQUIDE L’HORIZON LIQUIDE que le calcul à l’échelle planétaire Kati Ilves est en train de devenir un outil Kati Ilves PAR-DELÀ pour PAR-DELÀ construire une infrastructure L’HORIZON LIQUIDE contemporaine : à la fois L’HORIZON LIQUIDE Kati Ilves Kati Ilves immatérielle, flottant quelque part PAR-DELÀ entrePAR-DELÀ les serveurs, les utilisateurs et L’HORIZON L’HORIZON les banquesLIQUIDE de données, et physique. LIQUIDE Kati Quand elleIlves dysfonctionne ou estKati Ilves PAR-DELÀ PAR-DELÀ mal conçue, elle peut s’emmêler, L’HORIZON L’HORIZON LIQUIDE se troubler ;LIQUIDE elle peut produire des Kati Ilves Kati Ilves données imprécises, incomplètes ou PAR-DELÀ ce qu’on appellePAR-DELÀ inconsistantes, des L’HORIZON LIQUIDE L’HORIZON LIQUIDE « données sales ». En utilisant des Kati àIlves Kati Ilves satellites la fois pour les parties PAR-DELÀ PAR-DELÀ visuelles et sonores de l’installation, L’HORIZON LIQUIDE Suisalu a créé un paysageL’HORIZON immersif LIQUIDE Kati Ilves Kati Ilves qui réagit à la présence des visiteurs PAR-DELÀ PAR-DELÀ dans la pièce. L’image – une L’HORIZON LIQUIDE L’HORIZON LIQUIDE illustration animée provenant d’un Kati Ilves Kati Ilves satellite météo – est associée à des PAR-DELÀ PAR-DELÀ signaux issus de satellites défaillants L’HORIZON LIQUIDE L’HORIZON joués sur une platine disque modifiée LIQUIDE Kati Ilves dépend de la position Kati Ilves dont la vitesse PAR-DELÀ PAR-DELÀ de ces satellites sur l’horizon, près L’HORIZON L’HORIZON de l’espace LIQUIDE d’exposition. Ce paysage LIQUIDE Katicréé Ilvespar satellite pourrait Kati Ilves artificiel PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE

Kati Ilves Kati Ilves Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ PAR-DELÀ s’étendre au-dessus des villes et visuel, qu’il est difficile de réduire PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDEcommun. L’HORIZON LIQUIDE des pays pour combler le fossé à un seul dénominateur Katiproduit Ilves par les « données Katisales Ilves» Kati Ilves Kati Ilves Cette approche pan-historique, PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ dysfonctionnelles. qui expose aussi bien des reliques L’HORIZON LIQUIDE L’HORIZON LIQUIDE ou L’HORIZON LIQUIDE L’HORIZON LIQUIDE de faux artefacts archaïques KatiAu Ilves Ilves Kati Ilves Kati Ilves fur et à mesure queKati la tangibilité que des biens contemporains, PAR-DELÀ PAR-DELÀ PAR-DELÀ du monde matériel s’effiloche peut également être utilisée pour PAR-DELÀ L’HORIZON LIQUIDE LIQUIDE décrire L’HORIZON L’HORIZON LIQUIDE lentement et queL’HORIZON de nouveaux l’œuvre LIQUIDE de Norman Orro. Katimodes Ilves de matérialité émergent, Kati Ilves Kati Ilves Kati Ilves Les éléments concrets de son PAR-DELÀ PAR-DELÀ PAR-DELÀ l’exposition cherche à PAR-DELÀ examiner installation sonore – des hautL’HORIZON L’HORIZON L’HORIZON lesLIQUIDE possibilités provenant de LIQUIDE ces parleurs imitantLIQUIDE des rochers –L’HORIZON LIQUIDE Katinouveaux Ilves Kati Ilves Ilves Kati Ilves horizons. Katja Novitskova sont une Kati contribution à un parc PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ a étudié le nexus formé par la d’attraction inspiré des Flintstones. L’HORIZON LIQUIDE l’écologie L’HORIZON LIQUIDE L’HORIZON L’HORIZON LIQUIDE technologie, et la vue en Fondue dans unLIQUIDE paysage, cette mise Katidessinant Ilves Kati Ilves Kati Ilves Kati Ilves son propre matériau source en scène pourrait représenter un PAR-DELÀ PAR-DELÀ à partir de banques dePAR-DELÀ données cimetière de reliques terrestres. PAR-DELÀ L’HORIZON L’HORIZON LIQUIDE Quand L’HORIZON LIQUIDE L’HORIZON LIQUIDE en LIQUIDE ligne. Ses recherches montrent la planète qui les porte Katique Ilves Kati Ilves Kati Ilves longtemps, ces Kati Ilves la vue a été sous-traitée à des sera morte depuis PAR-DELÀ agents robotiques qui PAR-DELÀ opèrent dans répliquesPAR-DELÀ érigées sur des surfaces PAR-DELÀ L’HORIZON L’HORIZON LIQUIDE conçues L’HORIZON LIQUIDE en de L’HORIZON LIQUIDE lesLIQUIDE profondeurs de la mer et sur numériquement Katide Ilves Kati Ilves Kati Ilves de données Kati Ilves lointains corps célestes, où ils vastes assemblages PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ font pour nous l’expérience de ces seront nos repères. L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE nouveaux horizons. Ses travaux, Katinaviguant Ilves Kati Ilves Kati Ilves à travers des paysages Hito Steyerl, artiste et théoricienne,Kati Ilves PAR-DELÀ PAR-DELÀ PAR-DELÀ fournis par les mégadonnées, créent a compris que les données étaient PAR-DELÀ L’HORIZON L’HORIZON LIQUIDE uneLIQUIDE autre articulation visuelleLIQUIDE de un L’HORIZON nouvel outil LIQUIDE de survie qui,L’HORIZON si l’on KatilaIlves Kati Ilves Kati Ilves vie naturelle. En notre époque en croit le vocabulaire choisi, va Kati Ilves PAR-DELÀ PAR-DELÀ de crises biotiques, dePAR-DELÀ vastes nous mettre à l’aube d’une nouvellePAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE ère.L’HORIZON L’HORIZON LIQUIDE quantités de données définissent Des termesLIQUIDE comme « fermes de Katil’écologie Ilves Kati Ilves Ici, Ilves », « prospectionKati à l’échelle planétaire. données Kati », « récolte » Ilves PAR-DELÀ PAR-DELÀ PAR-DELÀ le point focal oscille entre un lieu et « extraction » de données sont PAR-DELÀ L’HORIZON LIQUIDE et L’HORIZON LIQUIDE plutôt L’HORIZON L’HORIZON LIQUIDE géographique ses nombreuses agricoles,LIQUIDE ce qui permet de Katisurfaces, Ilves Kati Ilves Kati Ilves Kati Ilves modélisées et manipulées définir notre époque comme le PAR-DELÀ PAR-DELÀ PAR-DELÀ par l’industrie du logiciel. « néolithique des données » et de PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE nous L’HORIZON LIQUIDE L’HORIZON LIQUIDE placer, nous les habitants KatiDe Ilves Kati Ilves Kati Ilves Kati Ilves la même façon, l’installation actuels, dans un état de 2 PAR-DELÀ PAR-DELÀ PAR-DELÀ . La récente trilogiePAR-DELÀ de Guan Xiao questionne l’idée transformation L’HORIZON LIQUIDE de L’HORIZON LIQUIDE science-fiction dystopiqueL’HORIZON LIQUIDE de LIQUIDE simulation enL’HORIZON exposant combien Katides Ilves Ilves » Kati Ilves Hunger Games a créé un monde Kati Ilves concepts tels que «Kati archaïque PAR-DELÀ PAR-DELÀ PAR-DELÀ de hautePAR-DELÀ technologie postet « naturel » acquièrent d’autres L’HORIZON LIQUIDE sousL’HORIZON L’HORIZON où LIQUIDE L’HORIZON LIQUIDE les gens des dimensions l’effet de LIQUIDE apocalyptique Katil’ingénierie Ilves Kati Ilves Kati Ilves Kati Ilves classes défavorisées chassent informatique. PAR-DELÀ PAR-DELÀ PAR-DELÀ et cueillent pour leur survie tout PAR-DELÀ En juxtaposant « l’ancien » et L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON L’HORIZON LIQUIDE en utilisant desLIQUIDE plateformes de « le nouveau » et en mêlant des Katiimages Ilves de différentes cultures Kati Ilves Kati Ilves Kati Ilves communication élaborées. Les et PAR-DELÀ PAR-DELÀ PAR-DELÀ mélanges de l’archaïque et du régions, il fait émergerPAR-DELÀ un langage L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE L’HORIZON LIQUIDE 2 Hito Steyerl, “A Sea of Data: Apophenia e-flux, n°72 (avril 2016), Kati Ilves Kati Ilves Kati Ilves and Pattern (Mis-)Recognition,” Kati Ilves http://www.e-flux.com/journal/72/60480/a-sea-of-data-apophenia-and-pattern-mis-recognition/. PAR-DELÀ PAR-DELÀ PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE 36 L’HORIZON LIQUIDE L’HORIZON LIQUIDE

Kati Ilves Kati Ilves PAR-DELÀ contemporain sontPAR-DELÀ symptomatiques L’HORIZON LIQUIDE L’HORIZON LIQUIDE de notre présent : nous récoltons, Kati Ilves Kati et Ilves cueillons, prospectons extrayons PAR-DELÀ PAR-DELÀ comme avant, pour un matériau L’HORIZON LIQUIDE L’HORIZON LIQUIDE nouveau, en partie par peur et par Kati Ilves Kati parce Ilves que incertitude, mais aussi PAR-DELÀ PAR-DELÀ ces activités ont été incorporées à L’HORIZON LIQUIDE L’HORIZON LIQUIDE nos kits de survie génétiques il y Kati Ilves Ilves a des millénaires. «Kati L’extraction » PAR-DELÀ PAR-DELÀ du passé caractérise également la L’HORIZON LIQUIDE L’HORIZON LIQUIDE pratique de Laura Põld. Elle a utilisé Kati Ilves Kati Ilves des matériaux archaïques tels que de PAR-DELÀ l’argile, du bois, desPAR-DELÀ roseaux et de la L’HORIZON LIQUIDE L’HORIZON LIQUIDE laine, dans une installation à base de Kati Ilves Kati Ilves poteries. Son œuvre, conçue in situ, PAR-DELÀ PAR-DELÀ : le prend en compte l’architecture L’HORIZON LIQUIDE L’HORIZON LIQUIDELU bâtiment de l’ancienne biscuiterie Kati Ilves Kati Ilves est riche en couches architecturales, PAR-DELÀ PAR-DELÀ et Põld travaille à partir de son L’HORIZON LIQUIDE L’HORIZON LIQUIDE mur de briques rouges. Mêlant Kati Ilves Kati Ilves avec cette esthétique particulière PAR-DELÀ PAR-DELÀ d’anciens masques de guerrier L’HORIZON LIQUIDE LIQUIDE et des objets L’HORIZON liés à la guerre, le Kati Ilves Kati Ilves territoire que Põld a créé mélange PAR-DELÀ les dichotomies dePAR-DELÀ l’archaïque et L’HORIZON LIQUIDE L’HORIZON du contemporain, du privéLIQUIDE et du Kati Ilves Ilves public, de la guerreKati et de la paix. PAR-DELÀ PAR-DELÀ Ses œuvres pourraient constituer un L’HORIZON LIQUIDE monument deL’HORIZON l’entre-deuxLIQUIDE , chargé Kati Ilves Ilves et de de spéculations, deKati références PAR-DELÀ PAR-DELÀ prophéties. L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves Le port de Rotterdam PAR-DELÀ PAR-DELÀ au bord de l’inconnu L’HORIZON LIQUIDE L’HORIZON La rumeur affirme qu’il y aLIQUIDE plus de Kati Ilves Kati Ilves chats en ligne que dans le monde PAR-DELÀ réel. Bien qu’il soit PAR-DELÀ impossible L’HORIZON LIQUIDE L’HORIZON de les compter, il y a sansLIQUIDE Kati Ilves Katid’autres Ilves doute aussi davantage PAR-DELÀ PAR-DELÀ animaux. La plupart des images L’HORIZON LIQUIDE LIQUIDE sont mises enL’HORIZON ligne et diffusées Kati Ilves Kati Ilves par des utilisateurs, tandis que PAR-DELÀ PAR-DELÀ d’autres représentent une stratégie L’HORIZON LIQUIDE L’HORIZON LIQUIDE soigneusement mise au point. Kati Ilves Kati Ilves Elles sont faites pour provoquer la PAR-DELÀ PAR-DELÀ sympathie humaine, l’enthousiasme, L’HORIZON LIQUIDE L’HORIZON LIQUIDE et pour faire passer les choses Kati Ilves Kati Ilvesraison, déplaisantes. Pour la même PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE 37

Kati Ilves Kati Ilves PAR-DELÀ un des premiers jeux construitsPAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE sur la technologie des blockchains, Ilves rendu possiblesKati Ilves qui a Kati également PAR-DELÀ PAR-DELÀ les cryptomonnaies telles que le L’HORIZON LIQUIDE tourne L’HORIZON bitcoin et l’ethereum, autour LIQUIDE Kati Ilves de l’image d’un chat. Bien que leKati jeu Ilves PAR-DELÀ CryptoKitties inclue un facteur PAR-DELÀ de L’HORIZON LIQUIDE satisfaction,LIQUIDE son principalL’HORIZON objectif Ilvesde l’argent en ligne. Kati Ilves est deKati gagner PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON Comme d’autres pratiques, l’argent LIQUIDE Katid’en Ilvesgagner ont connu Kati et le fait des Ilves PAR-DELÀ PAR-DELÀ évolutions radicales, et de nombreux L’HORIZON L’HORIZON systèmes etLIQUIDE réglementations ont été LIQUIDE Kati Ilves Kati Ilves restructurés. Les cryptomonnaies sont PAR-DELÀ utilisées en parallèle des PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE monnaies conventionnelles, les Katitravail Ilves se sont installésKati Ilves lieux de PAR-DELÀ PAR-DELÀ en ligne, et la nature du travail est L’HORIZON LIQUIDE L’HORIZON LIQUIDE en train de radicalement changer. IlvesSol Archer étudieKati Ilves Dans Kati son film, PAR-DELÀ la perte d’importance du travailPAR-DELÀ L’HORIZON L’HORIZON LIQUIDE manuel dansLIQUIDE le port de Rotterdam, Kati Ilves Kati Ilves amenée par d’incroyables progrès PAR-DELÀ dans PAR-DELÀ l’automation et la robotique. L’HORIZON L’HORIZON LIQUIDE En faisant seLIQUIDE mêler l’esthétique du Kati Ilves « futurisme capitaliste » avec laKati Ilves PAR-DELÀ son film manifeste PAR-DELÀ science-fiction, L’HORIZON L’HORIZON LIQUIDE une version LIQUIDE amplifiée du réalisme, Kati Ilves Kati Ilves c’est-à-dire que les scènes semblent PAR-DELÀ PAR-DELÀ familières, mais sont présentées avec L’HORIZON L’HORIZON LIQUIDE une étrangeLIQUIDE intensité. L’émergence Kati Ilves Kati Ilves de l’inconnu, également évoquée dans PAR-DELÀ de nombreux débats sur laPAR-DELÀ L’HORIZON L’HORIZON LIQUIDE transition duLIQUIDE travail manuel vers Kati Ilvesn’impliquant pas Kati Ilves des processus PAR-DELÀ PAR-DELÀ d’assistance humaine, mène à une L’HORIZON image assezLIQUIDE ambivalente, L’HORIZON qui ne peut LIQUIDE Kati Ilves Kati Ilves être mesurée sur une échelle binaire PAR-DELÀ PAR-DELÀ bon/mauvais. L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves Les œuvres vidéo d’Anni Puolakka PAR-DELÀ et Jaakko Pallasvuo, explorant PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE le même monde, dévoilent les Kati Ilves d’une économie Kati caractéristiques de Ilves PAR-DELÀ PAR-DELÀ l’attention, et présentent une image L’HORIZON LIQUIDE L’HORIZON LIQUIDE fidèle des activités courantes en Ilves Kati »Ilves ligne.Kati Habité par des « influenceurs PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE

Kati Ilves Kati Ilves PAR-DELÀ et des « prescripteurs PAR-DELÀ » sur les L’HORIZON LIQUIDE L’HORIZON réseaux sociaux, le paysage LIQUIDE Katinumérique Ilves Katiutile Ilvespour actuel est très PAR-DELÀ PAR-DELÀ monétiser des efforts personnels. L’HORIZON LIQUIDE L’HORIZON Puolakka et Pallasvuo ont misLIQUIDE en Katiscène Ilves une série de vidéos Katiavec Ilves PAR-DELÀ PAR-DELÀ une protagoniste youtubeuse, une L’HORIZON LIQUIDE L’HORIZON LIQUIDE danseuse, dont les vidéos sont Katipartagées Ilves Ilves en ligne ; ceKati simple fait PAR-DELÀ crée de lui-même de laPAR-DELÀ valeur, par L’HORIZON LIQUIDE L’HORIZON LIQUIDE la monétisation. Cette articulation Katiopportune, Ilves Kati Ilves qui va des chaînes PAR-DELÀ PAR-DELÀ Youtube à l’ensemble de la culture L’HORIZON LIQUIDE actuelle, L’HORIZON LIQUIDE consumériste s’adresse à Katil’homme Ilves Kati Ilves (occidental) moderne par PAR-DELÀ PAR-DELÀ le biais de la distribution de capital. L’HORIZON LIQUIDE L’HORIZON LIQUIDE Comme les plateformes numériques KatietIlves Kati Ilves leur contenu deviennent obsolètes PAR-DELÀ avant leurs équivalentsPAR-DELÀ hors ligne ou L’HORIZON LIQUIDE L’HORIZON LIQUIDE matériels, la culture des youtubeurs Katiflottera Ilves bientôt tel un fossile Kati Ilves dans PAR-DELÀ PAR-DELÀ l’océan de l’Internet oublié. PeutL’HORIZON LIQUIDE LIQUIDE être le courant laL’HORIZON ramènera-t-il sur le Katirivage, Ilves quelque part, permettant Kati Ilves des PAR-DELÀ PAR-DELÀ investigations ultérieures de cette L’HORIZON LIQUIDE L’HORIZON LIQUIDE relique révélatrice de notre époque. Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’avenir de l’ADN L’HORIZON LIQUIDE L’HORIZON LIQUIDE Peut-être ne seront-ce pas seulement Katiles Ilves héros de Youtube etKati leurIlves culture PAR-DELÀ PAR-DELÀ qui se fossiliseront – la question L’HORIZON LIQUIDE L’HORIZON LIQUIDE clef, s’agissant du futur, a toujours Katiété Ilves Kati Ilves le rôle qu’y jouera l’Homme. PAR-DELÀ PAR-DELÀ Les humains s’éteindront-ils, L’HORIZON LIQUIDE L’HORIZON LIQUIDE comme les dinosaures il y a des Katimillions Ilves d’années ? OùKati Ilves le naturel PAR-DELÀ PAR-DELÀ et le technologique trouvent-ils L’HORIZON LIQUIDE leur intersection L’HORIZON ? Quel est leLIQUIDE bon Katiéquilibre Ilves Kati Ilves entre le biologique, le PAR-DELÀ synthétique et le restePAR-DELÀ ? L’altérité L’HORIZON LIQUIDE L’HORIZON LIQUIDE nous semblera-t-elle radicalement Katiétrangère, Ilves Kati Ilves technologique, PAR-DELÀ PAR-DELÀ ou bizarre ? Les spéculations L’HORIZON LIQUIDE L’HORIZON dépeignent souvent un avenirLIQUIDE Katisans Ilveshumains biologiques, Kati avec Ilves PAR-DELÀ PAR-DELÀ l’émergence des non-humains, des L’HORIZON LIQUIDE L’HORIZON LIQUIDE hybrides, ou simplement de l’altérité. Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE

Kati Ilves Kati Ilves PAR-DELÀ La base de ces spéculations réside PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE dans les progrès des recherches Kati en Ilves Kati Ilves scientifiques médecine, ingénierie PAR-DELÀ PAR-DELÀ et biologie. Le projet de Joey Holder L’HORIZON LIQUIDE LIQUIDE aborde le proche avenir pour L’HORIZON dévoiler Kati Ilves Kati Ilves les possibilités nichées dans la PAR-DELÀ pratique PAR-DELÀ scientifique actuelle. L’HORIZON LIQUIDE Le L’HORIZON « matériau » LIQUIDE au centre de son Ilves Kati Ilves projet estKati l’ADN, le code unique PAR-DELÀ définissant toute forme de vie. La PAR-DELÀ L’HORIZON L’HORIZON LIQUIDE recherche sur leLIQUIDE génome est de Katiutilisée Ilves en médecine Kati Ilves plus en plus PAR-DELÀ PAR-DELÀ pour prévenir et guérir des maladies L’HORIZON LIQUIDE L’HORIZON LIQUIDE chroniques, et l’on estime qu’elle est Kati Ilves Kati Ilves une clef permettant de résoudre de PAR-DELÀ PAR-DELÀ nombreux graves problèmes de santé. LIQUIDE L’HORIZON LIQUIDE LesL’HORIZON corps humains sont de plus en Kati Ilves et numérisés, Kati Ilves plus cartographiés PAR-DELÀ et la croissance des banques de PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE données fondées sur l’ADN pourrait Kati Ilves ouvrir la voie à d’autres opérations, Kati Ilves PAR-DELÀ telles la modélisation et la créationPAR-DELÀ L’HORIZON LIQUIDE LIQUIDE d’ADN. Dans l’avenir envisagéL’HORIZON par Kati Ilves Kati Ilves Holder, la vie humaine sera de plus PAR-DELÀ PAR-DELÀ en plus modifiée par la technologie. L’HORIZON LIQUIDE L’HORIZON LIQUIDE Autrement dit, l’avenir sera avant Kati Ilvesavec quelques Kati Ilves tout synthétique, PAR-DELÀ PAR-DELÀ rares éléments humains LIQUIDE L’HORIZON LIQUIDE ou L’HORIZON anthropomorphes. Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’approche anthropomorphe du L’HORIZON LIQUIDE LIQUIDE non-humain a non seulementL’HORIZON fait Kati Ilves Kati Ilves l’objet de nombreuses théories, mais PAR-DELÀ PAR-DELÀ a également été mise en œuvre L’HORIZON LIQUIDE L’HORIZON LIQUIDE de diverses manières. Souvent, Ilves Kati Ilves la forme Kati donnée à certaines PAR-DELÀ machines, comme les astromobilesPAR-DELÀ L’HORIZON LIQUIDE LIQUIDE martiennes, évoque l’humain L’HORIZON ou ses Kati Ilves proches compagnons, les animaux Kati Ilves PAR-DELÀ PAR-DELÀ domestiques. Les humains se L’HORIZON LIQUIDEeux-mêmes L’HORIZON LIQUIDE répliquent énormément Kati Ilves Kati Ilves dans des formes non-humaines. PAR-DELÀ Réplication, clonage, étirement, PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE distorsion, mélange, copie, collage, Ilves effaçage Kati et ainsi de suite sont des Kati Ilves PAR-DELÀ PAR-DELÀ outils clefs pour Simon WaldL’HORIZON LIQUIDE L’HORIZON LIQUIDE Lasowski. Son énorme installation Kati Ilves 29 figures Kati Ilves spatiale comprenant PAR-DELÀ PAR-DELÀ 38 L’HORIZON LIQUIDE L’HORIZON LIQUIDE

Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀprovient indistinctes de chimpanzés L’HORIZON LIQUIDE L’HORIZON d’une rencontre avec « le LIQUIDE chimpanzé Kati Ilves Ilvessur une zéro », qu’il a trouvéKati debout PAR-DELÀ table avec un livre PAR-DELÀ sur la tête, dans L’HORIZON LIQUIDE LIQUIDE une boutiqueL’HORIZON de curiosités. WaldKati Ilves KatiunIlves Lasowski, en réalisant moule de PAR-DELÀ l’original, s’est mis PAR-DELÀ à le répliquer L’HORIZON LIQUIDE LIQUIDE et à donner àL’HORIZON chaque copie ses Kati Ilves Kati Ilves propres caractéristiques. Comme PAR-DELÀ PAR-DELÀ dans les laboratoires où des données L’HORIZON LIQUIDE LIQUIDE sont extraitesL’HORIZON de l’ADN pour servir Kati Ilves Kati Ilves à de futures recherches, WaldPAR-DELÀ PAR-DELÀ Lasowski travaille entre le familier L’HORIZON LIQUIDE L’HORIZON LIQUIDE et l’inconnu. En composant à travers Kati Ilves Kati Ilves chaque chimpanzé une plus large PAR-DELÀ PAR-DELÀ vision des futures espèces et des L’HORIZON LIQUIDE LIQUIDE futurs genres,L’HORIZON il plie et déforme Kati Ilves Kati les Ilves avec un luxe de détails visions PAR-DELÀ PAR-DELÀ spéculatives qui émergent de L’HORIZON LIQUIDE L’HORIZON LIQUIDE notre actuelle conception de la vie Kati Ilves Kati Ilves animale et naturelle. Dans leurs PAR-DELÀ PAR-DELÀ environnements assemblés, les L’HORIZON LIQUIDE L’HORIZONcomme LIQUIDE sculptures fonctionnent des Kati Ilves Kati Ilves molécules dans les hélices d’ADN, au PAR-DELÀ PAR-DELÀ sens où elles pourraient bien prendre L’HORIZON LIQUIDE L’HORIZON des formes nouvelles sousLIQUIDE l’effet Kati Ilves Kati Ilves d’interventions et modifications PAR-DELÀ PAR-DELÀ encore plus intenses. L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Katison Ilves Nicholas Riis travaille matériau PAR-DELÀ PAR-DELÀ encore plus sévèrement : il L’HORIZON LIQUIDE L’HORIZON recompose en profondeurLIQUIDE la forme Kati Ilves Kati Ilves familière, en la remodelant et en PAR-DELÀ PAR-DELÀ repensant les systèmes binaires. Ses L’HORIZON LIQUIDE L’HORIZON LIQUIDE œuvres sont des formes hybrides Kati Ilves Ilves En de différents types Kati d’altérité. PAR-DELÀ PAR-DELÀ puisant dans l’étrangeté du matériau L’HORIZON LIQUIDE L’HORIZON et de la forme, il permet àLIQUIDE l’aspect Kati Ilves Kati Ilves pratique et à l’aspect mystérieux PAR-DELÀ de s’entrecroiser. LePAR-DELÀ résultat est un L’HORIZON LIQUIDE L’HORIZON LIQUIDE objet sculptural, bien dessiné, qui Kati Ilves Kati Ilves est à la fois séduisant et alarmant. PAR-DELÀ PAR-DELÀ Dans la psychanalyse freudienne L’HORIZON LIQUIDE L’HORIZON LIQUIDE pratiquée par Melanie Klein, on dit Kati Ilves Kati Ilves qu’un enfant qui tète rêve de manger PAR-DELÀ PAR-DELÀ sa mère. Cela pourrait-il s’appliquer L’HORIZON LIQUIDE L’HORIZON LIQUIDE également aux non-humains ? Kati Ilves Kati Ilves En termes de croissance et de PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE 39

Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ progrès, certains actes de violence L’HORIZON LIQUIDE L’HORIZON LIQUIDE sont souvent perpétrés. Vivre un Kati Ilves traumatisme tout en continuantKati à Ilves PAR-DELÀ PAR-DELÀ agir est essentiel pour se forger une L’HORIZON LIQUIDE identité, et c’est peut-êtreL’HORIZON ce que ces LIQUIDE Kati Ilves essaient de faire. Kati Ilves formes étranges PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Monter depuis l’horizon liquide Kati un Ilves Imaginer avenir post-humainKati Ilves PAR-DELÀ amène souvent à envisager un PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE événement catastrophique qui Katisoit Ilves Kati Ilves pourrait mettre un terme à la PAR-DELÀ PAR-DELÀ vie, en particulier à la vie humaine, L’HORIZON LIQUIDE L’HORIZON LIQUIDE soit la changer en profondeur. Kati Ilves Depuis le 11 septembre, on croitKati Ilves PAR-DELÀqu’une menace PAR-DELÀ généralement L’HORIZON L’HORIZON LIQUIDE considérableLIQUIDE – une pandémie, une Kati Ilves attaque terroriste ou un incidentKati Ilves PAR-DELÀ menant à la Troisième Guerre PAR-DELÀ L’HORIZON L’HORIZON LIQUIDE mondiale – LIQUIDE nous guette au coin KatiElle Ilves Kati Ilves du bois. pourrait dériver d’une PAR-DELÀ PAR-DELÀ situation instable dans un endroit du L’HORIZON LIQUIDE L’HORIZON LIQUIDE globe, ou être la conséquence des Kati Ilves Kati Ilves inégalités sociales qui s’accentuent. PAR-DELÀ PAR-DELÀ On croit aussi que les progrès de la L’HORIZON L’HORIZON LIQUIDE technologieLIQUIDE pourraient fournir des Kati àIlves Kati Ilves solutions des problèmes tels que PAR-DELÀ de la populationPAR-DELÀ l’augmentation L’HORIZON mondiale, leLIQUIDE changement L’HORIZON climatique, LIQUIDE Kati Ilves Kati Ilves les crises migratoires et le manque PAR-DELÀ PAR-DELÀ de ressources. Les intérêts privés et L’HORIZON LIQUIDE LIQUIDE scientifiques se recoupentL’HORIZON souvent Kati Ilves Kati Ilves dans leur recherche de solutions, et lesPAR-DELÀ explorateurs du monde PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE contemporain plongent loin dans Kati Ilves Kati Ilves l’inconnu. PAR-DELÀ PAR-DELÀ L’HORIZON L’HORIZON Le nautile etLIQUIDE les fusées qui s’élèvent LIQUIDE Kati Ilves Kati Ilves à l’horizon dans l’œuvre de Vello PAR-DELÀ PAR-DELÀ Vinn viennent d’un monde sans L’HORIZON LIQUIDEà distance, L’HORIZON LIQUIDE humains. Actionnés Kati Ilves ou sans assistance humaine, ils Kati Ilves PAR-DELÀ PAR-DELÀ semblent savoir comment traverser L’HORIZON LIQUIDE L’HORIZON LIQUIDE le ciel grand ouvert. Au début des Kati Ilves années 1970, quand cette œuvreKati a Ilves PAR-DELÀ PAR-DELÀ été créée, l’Estonie faisait partie de L’HORIZON LIQUIDE L’HORIZON LIQUIDE l’Union soviétique, qui concentrait Kati Ilves Kati Ilves l’essentiel de ses ressources dans PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE

Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ les sciences utiles à l’armée. Pour L’HORIZON LIQUIDE L’HORIZON LIQUIDE des questions d’efficacité et de Katicroissance, Ilves Ilves la dextéritéKati manuelle PAR-DELÀ PAR-DELÀ s’effaçait autant que possible devant L’HORIZON LIQUIDE Cette L’HORIZON l’automation. approcheLIQUIDE Kati«Ilves progressiste » a laisséKati de Ilves nombreux PAR-DELÀ PAR-DELÀ « fossiles vivants » flotter à la L’HORIZON LIQUIDE LIQUIDE surface des eauxL’HORIZON ou tomber dans Katiles Ilves Katide Ilves fonds marins : parfois, PAR-DELÀ monstrueux vaisseaux PAR-DELÀ militaires L’HORIZON LIQUIDE refaisaient L’HORIZON LIQUIDE sous-marins surface Katidepuis Ilves leur inframonde, Kati Ilves témoignant PAR-DELÀ PAR-DELÀ qu’ils étaient « toujours vivants ». L’HORIZON LIQUIDE L’HORIZON LIQUIDE Peut-être cela s’applique-t-il encore Katiplus Ilves Kati Ilves largement : cet implacable PAR-DELÀ PAR-DELÀ progrès est caractéristique à la L’HORIZON L’HORIZON LIQUIDE foisLIQUIDE de l’Union soviétique, avide de Katigagner Ilves la course contreKati Ilves l’Amérique, PAR-DELÀ PAR-DELÀ et des corporations contemporaines L’HORIZON LIQUIDE L’HORIZON avec les petites start-ups quiLIQUIDE les Katiépaulent. Ilves Kati Ilves Le capitaine Nemo, dans PAR-DELÀ PAR-DELÀ le roman de Verne, confirmait au L’HORIZON LIQUIDEAronnax L’HORIZON LIQUIDE professeur qu’il y avait du Katizinc, Ilvesdu fer, de l’argent Kati Ilves et de l’or au PAR-DELÀ fond de la mer, et que PAR-DELÀ leur extraction 3 L’HORIZON LIQUIDE L’HORIZON LIQUIDE était certainement envisageable. KatiInspirée Ilves par l’œuvre deKati Ilves Vello Vinn, PAR-DELÀ Kristina Õllek examinePAR-DELÀ les activités L’HORIZON L’HORIZON de LIQUIDE Nautilus Minerals Inc., se LIQUIDE Katiconcentrant Ilves Kati Ilves sur un engin sous-marin PAR-DELÀ PAR-DELÀ qui plongera en eaux profondes L’HORIZON L’HORIZON LIQUIDE en LIQUIDE 2019. En se fondant sur les Katipossibilités Ilves Kati Ilves offertes par la science PAR-DELÀ PAR-DELÀ des matériaux contemporaine, L’HORIZON LIQUIDE L’HORIZON LIQUIDE Õllek met pleinement en scène la Katiprophétie Ilves Kati Ilves le de Verne. Elle observe PAR-DELÀ PAR-DELÀ Nautilus de Nautilus Minerals Inc. L’HORIZON LIQUIDE L’HORIZON LIQUIDE tandis qu’il s’élève vers l’horizon Katiliquide. Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON L’HORIZON LIQUIDE LesLIQUIDE surfaces contemporaines, Katiliquides, Ilves Kati Ilves ont solides et numériques, PAR-DELÀ PAR-DELÀ et été copieusement cartographiées L’HORIZON LIQUIDE L’HORIZON LIQUIDE manipulées. Les quantités toujours Katiplus Ilves Kati Ilves importantes de données qui PAR-DELÀ PAR-DELÀ viennent remodeler l’écologie à L’HORIZON LIQUIDE L’HORIZON LIQUIDE l’échelle planétaire nous mènent vers Kati Ilves Kati Ilves 3 Jules Verne, Vingt mille lieues sous les mers PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE

Kati Ilves Kati Ilves PAR-DELÀ un monde plus ambigu, où l’abîme PAR-DELÀ L’HORIZON LIQUIDE entre le naturel LIQUIDE et le construitL’HORIZON a été Kati brio. IlvesCe pourrait être Kati Ilves comblé avec PAR-DELÀ un récif coralien, ou un paysage, unPAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE animal, un fossile ou un minéral – Kati Ilves ou ce pourrait n’être qu’un rideau Kati Ilves de fuméePAR-DELÀ – rendu possible par des PAR-DELÀ L’HORIZON LIQUIDEélaborées, L’HORIZON LIQUIDE opérations d’ingénierie Kati Ilves Kati Ilves dans divers écosystèmes. Le Nautilus PAR-DELÀ des temps modernes sillonne ces PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE paysages. L’horizon n’est peutIlves mais il reste Kati Ilves être plus Kati le même, PAR-DELÀ PAR-DELÀ des territoires inexplorés pleins de L’HORIZON LIQUIDE L’HORIZON LIQUIDE potentiel. Le monde a peut-être Kati Ilves légèrement changé, mais au fond Kati Ilves PAR-DELÀ l’histoirePAR-DELÀ demeure la même. L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ L’HORIZON LIQUIDE L’HORIZON LIQUIDE Kati Ilves Kati Ilves PAR-DELÀ PAR-DELÀ 40 L’HORIZON LIQUIDE L’HORIZON LIQUIDE

Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979,

United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom)

OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016

Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video

Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX Joey Holder OPHIUX

Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist Joey Holder (1979, United Kingdom) OPHIUX. 2016 Video Courtesy of the artist

Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018

Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION

(TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation Katja Novitskova (1984, Estonia) APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS). 2018 Installation Art Museum of Estonia Foundation

Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS) Katja Novitskova APPROXIMATION (TRAIL CAMERA NIGHT VISION AND WILDEBEESTS)

Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME Bas Hendrikx LIGHTS ON BUT NOBODY’S HOME

LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS LIGHTS

Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S Bas Hendrikx ON BUT NOBODY’S

HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME HOME

Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx LIGHTS ON BUT BasLIGHTS ON BUT LIGHTSION BUT LIGHTS BUT LIGHTS ON BUT from: heard a great story. ON A woman NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME to: Alex lives in the countryside. One day, Bas Hendrikx Hendrikx Bas Hendrikx Hendrikx Bas Hendrikx date: 2 JulyBas 2018, 16:46 she is digging Bas the ground in her LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT subject: Lights on but nobody’s home garden, and she hits something NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME hard. Thinking it is a root, she starts Bas Hendrikx Bas Hendrikx Bas Hendrikx Hi dear Alex, Bas Hendrikx cutting and cutting and boom, she Bas Hendrikx LIGHTS ON BUT LIGHTS ON BUT LIGHTScuts ON BUT LIGHTS connection ON BUT for LIGHTS ON BUT off the internet NOBODY’S HOME NOBODY’S NOBODY’S It HOME was onlyNOBODY’S really recently that a new theHOME entire area. The rootHOME was notNOBODY’S HOME Bas Hendrikx Bas Hendrikxnear my Bas Hendrikx Bas Hendrikx Bas Hendrikx building was constructed a root of course, but an internet LIGHTS ON BUT LIGHTS ONedge BUT of the LIGHTScable, ON BUT LIGHTS ON BUTof aLIGHTS ON BUT home. It’s on the outer subjected to the force NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME city, on a quiet university campus. shovel. It’s rather an archaic story, Bas Hendrikx Basyet Hendrikx Bas Hendrikx It’s a bit chunky, possesses a Bas Hendrikx and I doubt whether it is even true,Bas Hendrikx LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT certain elegance. I must admit I’ve but it speaks to the imagination, NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME HOME NOBODY’S HOME developed somewhat of an obsession doesn’t it? INOBODY’S love the way in which it Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx for the building. I sometimes go for illustrates the entanglement between LIGHTS ON BUT LIGHTS ONand BUT LIGHTS ON BUT LIGHTS BUT LIGHTS ON BUT a run near the campus observe it nature, mankind, and ON infrastructure. NOBODY’S HOME NOBODY’Son HOME NOBODY’S HOME time NOBODY’S HOME from afar. Depending the weather Spending online isHOME usually NOBODY’S such Bas Hendrikx Bas Hendrikx Hendrikxit’s easyBas Hendrikx it’s mostly greyish, like any other Bas Hendrikx a disembodiedBas experience; LIGHTS ON BUT But LIGHTS BUT sparkle LIGHTSto ON BUT where LIGHTS ON BUT building. there’s ON a certain forget we are, and whereLIGHTS ON BUT NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME in the building. Rendered in black our data travels. Imagining that NOBODY’S HOME Bas Hendrikx Hendrikx Bas Hendrikx Bas Hendrikx and white, theBas building exterior has woman in her garden renders it so Bas Hendrikx LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT a subtle pattern of long, stretched visible. I guess she’d be off the grid, NOBODY’S HOME shapes, NOBODY’S HOME NOBODY’S HOME NOBODY’S NOBODY’S HOME triangular covering its entire herself being a remnantHOME of a dying Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx façade. If you move past it, it subtly out generation – and then suddenlyBas Hendrikx LIGHTS ON BUT ON BUT ON BUT BUTinternet. LIGHTS ON BUT shifts from LIGHTS light to dark grey, in LIGHTS the she’s hitting LIGHTS that veinON of the NOBODY’S HOME NOBODY’S HOMEeven NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME right kind of sun sometimes to Bas Hendrikx Bas Hendrikx Bas Hendrikx internetBas Hendrikx silver, and back again. The essenceBas Hendrikx Did you know transoceanic LIGHTS ON BUT LIGHTS BUT LIGHTScables ON BUT LIGHTS BUT inLIGHTS ON BUT of the building is its ON moiré pattern, face only a fewON dangers NOBODY’S HOME NOBODY’S HOME HOME HOME which makes the façade appearNOBODY’S their ocean NOBODY’S floor habitat? Sharks,NOBODY’S HOME Bas Hendrikx Hendrikx Basquakes, Hendrikx Bas Hendrikx animate whenBas passing by. It growsBas on Hendrikx anchors, and sea that’s it. It’s LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT you, it’s kind of sexy. Oddly enough, a different story when those cables NOBODY’S NOBODY’S HOME But NOBODY’S HOME NOBODY’S HOME HOME theHOME building has no windows. as reach the shore. The point were NOBODY’S a Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx it turns out, it doesn’t really need transoceanic cable washes ashore is LIGHTS ON LIGHTS ON BUT ON BUT LIGHTS ON BUT where LIGHTS ON BUT any.BUT It’s a data centre. It’s home LIGHTS to called a landing point. That’s NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME servers only. they become more vulnerable, and Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Anything Hendrikx from Bas Hendrikx hence, are thicker. LIGHTS ON BUTusually LIGHTS BUT ON BUT to governments LIGHTS ON BUT People don’tON really thinkLIGHTS of squirrels could LIGHTS ON BUT NOBODY’S NOBODY’S HOME NOBODY’S HOMEthe NOBODY’S HOME theHOME internet as something physical. sabotage network. On every NOBODY’S HOME Bas Hendrikx Bas Hendrikx Bas Hendrikx And I get it –Bas it’s Hendrikx hard to picture aBas Hendrikx level, Telcos (telecommunication LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT network. It remains an abstraction. companies) are very protective NOBODY’S HOME NOBODY’S HOME HOME NOBODY’S HOMEAnd NOBODY’S HOME Metaphors like the cloud make NOBODY’S it over their cable connections. Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx seem immaterial. As though our so, the less we know, the better. LIGHTS ON LIGHTS ONthe BUT ON BUT LIGHTS BUT LIGHTS ON BUT dataBUT is floating though sky, LIGHTSThey disguise landingON points NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME just waiting for our call. However with brick and mortar buildings, Bas Hendrikx Bas Bas Hendrikx Bas Hendrikx immaterial this allHendrikx may sound: it Bas Hendrikx and try to make those buildings LIGHTS ON BUT aLIGHTS ON BUT LIGHTSblend ON BUT ON of BUT is actually huge infrastructure. in withLIGHTS the design local LIGHTS ON BUT NOBODY’S NOBODY’S HOME NOBODY’S HOMEasNOBODY’S HOME NOBODY’S HOME It’sHOME a network, consisting of cables, buildings much as possible. Bas Hendrikx Bas Hendrikx Bas Hendrikx Bastwo Hendrikx servers, and buildings. A while ago, There are usually ways to do Bas Hendrikx LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT 54 HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S

Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx LIGHTS ON that: BUT either LIGHTS ON BUT aLIGHTS ONwith BUTcould LIGHTS ON BUTbelongings LIGHTS ON BUT by constructing very stay, all other NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME plain, nondescript building with no were to be thrown out. Unsurprisingly, Bas Hendrikx Bas Bas Hendrikx windows at all,Hendrikx or by making itBas lookHendrikx the regrets Bas wereHendrikx plentiful. LIGHTS ON like BUTa regular LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT home. Either way, the NOBODY’S HOME HOME NOBODY’S HOME NOBODY’S HOME lack of NOBODY’S human activity, surveillance This summer, one ofHOME my aimsNOBODY’S is Bas Hendrikx Bas heavy Hendrikx Bas Hendrikx cameras, and fencing indicate to get rid ofBas theHendrikx digital junkyardBas Hendrikx LIGHTS ON that BUTthese LIGHTS BUT LIGHTS BUT LIGHTS ON BUT ridLIGHTS ON BUT are notON just ordinary build-ONon my laptop. I am getting of NOBODY’S HOME NOBODY’S HOME precious. NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME ings, but house something all my Google products. No more Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Gmail, no more Drive. Over the Bas Hendrikx LIGHTS ON The BUTdataLIGHTS ON BUT LIGHTS ONcourse BUT ofLIGHTS ON the BUTfilesLIGHTS ON BUT centre near my home is many years have NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME surrounded by a moat; an artificial just been accumulating there. I Bas Hendrikx Hendrikx Bas Hendrikx Bas Hendrikx canal thatBas encloses the building. started noticing this when a fewBas Hendrikx LIGHTS ON It’s BUTa cosmetic LIGHTSsafety ON BUT LIGHTS ON BUT LIGHTS BUT started LIGHTS ON BUT measure, a months ago all myON devices NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME HOME HOME somewhat ironic one. I guess it warning NOBODY’S me they were out ofNOBODY’S storage Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx presupposes an angry mob would capacity. My phone, laptop, email LIGHTS ON attack BUT the LIGHTS ON BUT LIGHTS ONaccount, BUT LIGHTS ON BUT LIGHTS ON BUT data centre. Torches Drive, Dropbox, icloud, NOBODY’S HOME NOBODY’S HOMEwould NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME burning. And the owners you name it. Full. Would I want Bas Hendrikx Bas Hendrikx Hendrikx simply liftBas theHendrikx drawbridge to avoid to upgrade Bas for $2.99 a month? Bas Hendrikx LIGHTS ON any BUTharm. LIGHTS BUT heel LIGHTS BUT and LIGHTS ON BUT LIGHTS ON BUT But theON Achilles of a ONFolders folders full of duplicate NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME data centre is no angry mob; it is its documents, texts with suffixes such Bas Hendrikx Bas Should, Hendrikx Bas Hendrikx Bas Hendrikx water supply. say, terrorists as V5_final_def_DEF, and so on,Bas so Hendrikx LIGHTS ON want BUT to LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS attack a country, business, or forth. They make me think of all the ON BUT NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME government, a highly effective way places I NOBODY’S once spent HOME considerable Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx would be to deprive data centres of amounts of time. My @hotmail.com LIGHTS ON water. BUT InLIGHTS ON BUT warfare, LIGHTS BUT LIGHTS ON BUT LIGHTS ON BUT an age of digital to ONaccount, which I’ve long lost access NOBODY’S HOME HOMEisNOBODY’S HOME HOME NOBODY’S HOME cut off NOBODY’S their water supply to cut to, now aNOBODY’S graveyard of teenage Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas to Hendrikx Bas Hendrikx off their lifeline. Data centres require desires. I used be very fond of LIGHTS ON vast BUT amounts LIGHTS ON BUT LIGHTS ONMSN BUT Messenger, LIGHTS where ON BUT LIGHTS ON BUT of water for cooling. I spent my NOBODY’S HOME NOBODY’S NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME Air-conditioning is HOME a vital part of its after school afternoons talking to Bas Hendrikx Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx existence.Bas In this sense, data centres people I had seen in school all day. LIGHTS ON are BUTbodies, LIGHTS BUT LIGHTS ONWould BUT allLIGHTS ON BUT livingON organisms that those chats still beLIGHTS stored ON BUT NOBODY’S HOME HOME them NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME were toNOBODY’S die if we deprived of somewhere, perpetually floating Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx water. Just as for us humans, water from cloud to cloud? Perhaps Bas Hendrikx LIGHTS ON is BUT LIGHTS BUTour digital LIGHTS ONthey’re BUT stored LIGHTS ON gorgeous BUT LIGHTS a necessity of ON life for in that data ON BUT NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME bodies as well. The internet is like a centre? It is unlikely that my Hotmail Bas Hendrikx Hendrikxheart, thirsty Bas Hendrikx Bas Hendrikx Bas Hendrikx body with Bas a throbbing messages from a decade ago would LIGHTS ON for BUT ON BUT LIGHTS ONbe BUT ON BUT ON BUT data,LIGHTS water, content. Its network storedLIGHTS there, since the dataLIGHTS we NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME HOME of cables a web of veins running least consult is stored in theNOBODY’S most Bas Hendrikx Bas Hendrikx Bas Hendrikx Hendrikx to data centres, the joints, and Bas Hendrikx physically remote data centres. Bas Take, LIGHTS ON continuing BUT LIGHTS LIGHTS ONfor BUT LIGHTS ON BUT LIGHTS ON BUT on in ON the BUT tentacles instance, Facebook posts from NOBODY’S HOME NOBODY’S HOMEof NOBODY’S HOME HOME HOME of the web, the hardware its a coupleNOBODY’S years ago. They onlyNOBODY’S pop Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx organs protected in a network of up if you actively look for them. LIGHTS ON storage BUT LIGHTS LIGHTS ONHence BUT there LIGHTS BUT LIGHTS ON BUT facilities.ON BUT is no ON need to store NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME them anywhere central. We use the Bas Hendrikx Bas Hendrikx Bas Hendrikx Basfastest) Hendrikx Bas Hendrikx Some years ago, a number of my shortest (and connections LIGHTS ON friends BUT were LIGHTS ON BUTwithLIGHTS BUT LIGHTS ON BUT LIGHTS ON BUT quite taken a book ONfor the most important data traffic. NOBODY’S HOME NOBODY’S HOME HOME HOME by a cleaning guru. HOME Only theNOBODY’S items What is NOBODY’S less urgent is storedNOBODY’S in more Bas Hendrikx Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx one had a Bas deep personal relation remote locations in cooler climates. LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT 55 HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S

Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx LIGHTS ON BUT explorer LIGHTS ON BUTvon LIGHTSsomething ON BUT appealingly LIGHTS ON BUT LIGHTS ON BUT In 1858, Alexander abstract NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME Humboldt published his seminal about them in the sense that no one Bas Hendrikx Bas Hendrikx Bas Hendrikx book Kosmos Bas andHendrikx its accompanying really knows which data is stored Bas Hendrikx LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS BUT LIGHTS ON BUT Atlas. On his countless travels across where at which point ON in time. NOBODY’S NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME theHOME globe, NOBODY’S he observedHOME that ecology Bas Hendrikx Hendrikx Basimmateriality, Hendrikx should not beBas classified accordingBas to Hendrikx And exactly that thatBas Hendrikx LIGHTS ON BUT LIGHTS ON BUTwhere LIGHTSdisembodiment, ON BUT LIGHTS ONour BUT LIGHTS ON BUT continents, but rather zones is what digital NOBODY’S NOBODY’S HOME NOBODY’S HOME tries NOBODY’S HOME NOBODY’S HOME theHOME vegetation and climate were vocabulary to undermine. Bas Hendrikx Hendrikx Bas Hendrikx Hendrikx determined byBas altitude and latitude. Since the first Bas personal computers,Bas Hendrikx LIGHTS ON LIGHTS ON BUT LIGHTSwe’ve ON BUT LIGHTS ONfor BUT LIGHTS ON BUT His BUT maps were accompanied been using words physical NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME by illustrations, for instance of objects (a desktop, a bin, a folder) Bas Hendrikx BasHimalaya Hendrikxand the Bas Hendrikx Bas Hendrikx Bas Hendrikx diagrams of the to render digital abstractions LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT Andes depicting the similarities in perceptible. Take, for instance, the NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S vegetation at various altitudes. Today term login. A derivative HOME from theNOBODY’S HOME Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx scientists still use those diagrams to marine world, to log in comes fromBas Hendrikx LIGHTS ON LIGHTS BUT LIGHTSthe ONmeasurement BUT LIGHTS ON BUT LIGHTS ON BUT mapBUT and observe theON consequences system to record NOBODY’S HOME NOBODY’S HOME HOME of HOME climate NOBODY’S change. Ground a ships paceNOBODY’S by loweringHOME a stringNOBODY’S of Bas Hendrikx Bastime Hendrikx Bas Hendrikx Hendrikx breaking for the – during rope with knotsBas into the water as a Bas Hendrikx LIGHTS ON BUT LIGHTS ON BUT LIGHTSway ON to BUT LIGHTS ON BUT LIGHTS ON BUT which his geographer and scientist measure its speed. A wooden NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME contemporaries considered ecology log was tied to the end of the rope. Bas Hendrikx Hendrikx Bas Hendrikx Baskept Hendrikx Bas Hendrikx on a far more Bas local scale – Humboldt The records were in a log book, LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT called his world view the ‘web of from which the terms to log on NOBODY’S HOME HOME NOBODY’S NOBODY’S NOBODY’S HOME life’. In his NOBODY’S diaries he writes about his andHOME to log off originate. HOME Similarly, Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx fascination for another network: that we mine Bitcoin, and store data in Bas Hendrikx LIGHTS ON BUT ON BUT LIGHTSserver ON BUT LIGHTS ON BUT of the then LIGHTS new telegraph cables. farms.LIGHTS Could itON be BUT an attempt NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME Those cables ran across the ocean to make things look more harmless, Bas Hendrikx Bas Hendrikx Hendrikx Bas Hendrikx floors, connecting trading points Bas Hendrikx more relatable?Bas Figures show that the LIGHTS ON BUT LIGHTS ON BUThadLIGHTStotal ON BUT ON BUTin size LIGHTS ON BUT across the globe. Humboldt amountLIGHTS of data doubles NOBODY’S HOME a NOBODY’S NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME received specimen ofHOME a telegraph roughly every eighteen months. Bas Hendrikx Bas Hendrikx Bas Hendrikx Basvolumes Hendrikxof water Bas Hendrikx cable as a gift, which he kept in his Just imagine the LIGHTS ON BUT collection. LIGHTS ON BUT LIGHTSand ON energy BUT such LIGHTS ON BUT LIGHTS ON BUT personal Today, telegraph an exponential NOBODY’S HOME NOBODY’S HOME NOBODY’S NOBODY’S HOME cables are NOBODY’S still popularHOME collectibles – growth require, let aloneHOME the Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx you’ll see for yourself when you look capacity of infrastructure and LIGHTS ON BUT ON BUT LIGHTSstorage ON BUTfacilities LIGHTS BUT LIGHTS ON BUT them up onLIGHTS Ebay. I once held a few thisON requires. NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME specimens of telegraph cables, and The proliferation of this rural and Bas Hendrikx Basspecimens Hendrikx were no Bas Hendrikx Bas Hendrikx even though the industrial vocabulary might be a Bas Hendrikx LIGHTS ON BUT ON BUT LIGHTSmetaphor ON BUT forLIGHTS ON BUT LIGHTS ON BUT longer thanLIGHTS two or three centimetres, the amount of natural NOBODY’S HOME NOBODY’S HOME HOME they were exceptionally heavy NOBODY’S capital that NOBODY’S the internetHOME requires.NOBODY’S HOME Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx due to their leaden reinforcement.Bas Hendrikx LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT Transoceanic internet cables have Recently I travelled to Romania. NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME now replaced the telegraph cables, In the city of Cluj-Napoca I Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx yet their routes often remain the came across a Brutalist building. Bas Hendrikx LIGHTS ON BUT LIGHTS the ON global BUT trade LIGHTSAON BUT dotted LIGHTS BUT LIGHTS ON BUT same. Interestingly, façade withON small NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME hubs of the 1850s now serve as windows embedded in a relief of Bas Hendrikx Bas Hendrikx Bas Hendrikx Hendrikx some of the world’s most important superimposed Bas squared concrete Bas Hendrikx LIGHTS ON BUT hubs. LIGHTS ON BUT LIGHTSslabs. ON BUT LIGHTS BUT LIGHTS ON BUT internet I’m always amazed It is called TheON Telephone NOBODY’S NOBODY’S HOME HOME byHOME the factNOBODY’S that server HOME farms are Palace. BuiltNOBODY’S in the 1960s, it wasNOBODY’S HOME Bas Hendrikx Bas network; Hendrikx there isBas Hendrikx Bas Hendrikx nodes in a larger once home to telephone operators Bas Hendrikx LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT 56 HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S

Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx LIGHTS ON who BUT would LIGHTS ONyour BUTcall,LIGHTS BUT LIGHTS BUT of LIGHTS ON BUT redirect inform ONcompanies in the ON business high NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME you about the rates and whether frequency trading (the algorithmic Bas Hendrikx Hendrikx Bas Hendrikx the caller Bas or receiver would beBas Hendrikx trading of stock) settle in these Bas Hendrikx LIGHTS ON charged BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS BUT attempt LIGHTS ON BUT for those rates. Additionally, internet hubs. In aON careful NOBODY’S HOME NOBODY’S HOME the NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME ‘Securitate’ would provide not to favour any end user, data Bas Hendrikx Bas Hendrikx Bas Hendrikx Hendrikx extra ‘service’ of listening in on centres runBas an equal length of Bas Hendrikx LIGHTS ON random, BUT LIGHTS BUT phone LIGHTS ONcable BUT from LIGHTS ONpoint BUT of LIGHTS ON BUT or not soON random, the entry the NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME calls. Curiously, theHOME buildingNOBODY’S HOME buildingNOBODY’S to the nearest and the Bas Hendrikx Bas Hendrikx Bas Hendrikx now houses Telekom Romania,Bas Hendrikx farthest server on their premise.Bas Hendrikx LIGHTS ON the BUTnational LIGHTS ONof BUT LIGHTS ONInBUT ON BUT LIGHTS ON BUT branch Deutsche doing LIGHTS so, they make sure no one NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME Telekom. While the architecture of has the benefit of a connection Bas Hendrikx Bas Hendrikx Hendrikx Bas Hendrikx the Telephone Palace allowed Bas staffHendrikx that might Bas be nanoseconds faster. LIGHTS ON to BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT look out (the window size being I’m not an architect, but if I were, NOBODY’S HOME HOME NOBODY’S HOME HOME NOBODY’S HOME a clear NOBODY’S indication that one was not I would NOBODY’S almost certainly be chasing Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx supposed to be looking inside), the after commissions to design a Bas Hendrikx LIGHTS ON data BUT centre LIGHTS ON BUT LIGHTS ONdata BUTstorage LIGHTS ONNot BUT ON BUT has no windows at all. centre. only LIGHTS for NOBODY’S HOME NOBODY’S HOME HOME NOBODY’S NOBODY’S HOME The Telephone Palace reallyNOBODY’S was a commercial reasonsHOME (although Bas Hendrikx Bas Hendrikx the operator Bas Hendrikx Bas Hendrikx Bas Hendrikx hub for communication, the prospect that they reach LIGHTS ON ultimately BUT LIGHTS ON of BUT LIGHTS ONmaximum BUT LIGHTS ON BUT must LIGHTS ON BUT in charge redirecting capacity rapidly NOBODY’S HOME NOBODY’S HOMEcables NOBODY’S HOME NOBODY’S HOMEasNOBODY’S HOME calls, plugging telephone in be compelling), but rather an Bas Hendrikx Bas Hendrikx Bas Hendrikx and out, establishing connections. emblem of Bas 21stHendrikx century society.Bas Hendrikx LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT NOBODY’S HOME HOME NOBODY’S HOME HOME NOBODY’S HOME There’sNOBODY’S a certain charm in calling SendingNOBODY’S you good vibes, Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx an operator and asking them to Bas LIGHTS ON connect BUT LIGHTS ON desired BUT LIGHTS LIGHTS ON BUT LIGHTS ON BUT you to your partner. ON BUT NOBODY’S HOME HOME HOME NOBODY’S HOME Today, INOBODY’S find it hardHOME to leaveNOBODY’S home P.S. lookNOBODY’S up Bas Hendrikx Bas Hendrikx Hendrikx Bas4.961311’E Hendrikx Bas Hendrikx without my phone, even if onlyBas to run 52.354810’N, LIGHTS ON to BUT LIGHTS ONSmart BUT devices LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT the corner store. NOBODY’S HOME NOBODY’S NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME have become bodilyHOME extensions, Bas Hendrikx Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx prosthesis’Bas if you will. The inherent LIGHTS ON eroticism BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT in touching a smartphone NOBODY’S HOME HOMEoperating NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME with itsNOBODY’S smooth surfaces, Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx its easy interface, the veneer ofBas Hendrikx LIGHTS ON authenticity BUT LIGHTS ONadds BUT to the LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT – it all NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME flawlessness of connectivity. In a Bas Hendrikx Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx mere half Bas century, we’ve minimised LIGHTS ON manual BUT LIGHTS ONnow BUTconstruct LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT labour, and NOBODY’S HOME NOBODY’S HOME HOME NOBODY’S HOME NOBODY’S HOME an architecture whose usersNOBODY’S are not Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx human. We’re building buildings LIGHTS ON for BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT servers. NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME Bas Hendrikx Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx There are Bas plenty of data centres LIGHTS ON in BUT LIGHTS BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT and around myON hometown of NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME Amsterdam, since many overseas Bas Hendrikx Baswash Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx connections ashore on the LIGHTS ON coast BUT near LIGHTS ONFrom BUT there, LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT the city. NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME connections are further distributed Bas Hendrikx Basair. Hendrikx Bas Hendrikx Bas Hendrikx Bas Hendrikx via land and As a consequence, LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT LIGHTS ON BUT 57 HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S HOME NOBODY’S

Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro

(1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro 58 (1986, Estonia)

A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018

Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Norman Orro (1986, Estonia) A NOISY PLANET. 2018 Sound Installation

A A A A A A A A A A A A A A A A A A A A A

Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET Norman Orro NOISY PLANET

A A A A A A A A A A A A A A A A A A A A A

Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET Norman Orro A NOISY PLANET

Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by

le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA.

2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of

Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist

Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA Kristina Õllek NAUTILUS NEW ERA

Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia)

NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with

Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation

Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek

(1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique

in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018

Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Kristina Õllek (1989, Estonia) NAUTILUS NEW ERA. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation

FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD

OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE 64 Jaak Tomberg

GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE

GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD GOOD

Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED Jaak Tomberg OLD-FASHIONED

FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE

Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE Jaak Tomberg GOOD OLD-FASHIONED FUTURE

FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg Good Old-fashioned Future we can, from our later historical GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD En L’An 2000 is a famous French vantage point, compare them with OLD-FASHIONED GOOD scientific Jaak Tomberg FUTURE OLD-FASHIONED image series depicting the real technological developments FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE advances imagined as achieved by of the year 2000. As futuristic Jaak Tomberg OLD-FASHIONED GOOD the year 2000. FUTURE They were printed extrapolations, some of them are Jaak Tomberg GOOD Jaak Tomberg OLD-FASHIONED GOOD in 1899, 1900, 1901 and 1910, first FUTURE widely off the mark; others resonate OLD-FASHIONED GOOD FUTURE quite OLD-FASHIONED on paper as cigar box inserts, andJaak Tomberg with actual developments FUTURE OLD-FASHIONED JaakofTomberg FUTURE later as picture postcards, but never GOOD closely, or by way analogy. They Jaak Tomberg FUTURE OLD-FASHIONED distributed. There are at least 87 are simultaneouslyGOOD both surprising Jaak Tomberg GOOD Jaak Tomberg OLD-FASHIONED GOOD of them, by artists including Jean- FUTURE and naive, since the cultural OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED Marc Côté. It is a fascinating series, imagination they demonstrate is FUTURE OLD-FASHIONED Tomberg FUTURE a first-hand glimpse into a century- GOOD both very rich Jaak and quite dated. Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg old cultural and scientific imaginary, But we know not to take them too GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD depicting a future that is now seriously, and that they might have OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED eighteen years past its “due date”. been intended as a playful joke in FUTURE OLD-FASHIONED GOOD FUTURE the first place.Jaak Tomberg Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg Firefighters equipped with draconic GOOD Tomberg OLD-FASHIONED GOOD bat-wings areJaak saving a lady from a FUTURE Whatever else it might be, En L’An OLD-FASHIONED GOODTwo Victorian Jaak Tomberg FUTURE burning high balcony. 2000 is also science fiction, andOLD-FASHIONED a FUTURE GOOD Tomberg FUTURE gentlemenOLD-FASHIONED are spending time in a minuscule partJaak of what constitutes Jaak Tomberg FUTURE OLD-FASHIONED GOOD sitting room, enjoying a broadcast of the enormous archive of SF’s past Jaak Tomberg GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD an opera or a play with the help of a futures. The future in science OLD-FASHIONED GOOD Jaak Tomberg FUTURE in two OLD-FASHIONED golden gramophone, a microphone, fiction seems to function FUTURE OLD-FASHIONED GOOD Jaak and a steam-punkish holoprojector. contradictory ways. Tomberg On one hand, it FUTURE Jaak Tomberg GOOD Jaak Tomberg A group of boysFUTURE are sitting in a OLD-FASHIONED satisfies our inherent curiosity about GOOD Jaak Tomberg FUTURE GOOD classroom, getting wisdom from future statesOLD-FASHIONED of affairs. It answers OLD-FASHIONED GOOD FUTURE OLD-FASHIONED earphones that are all connected Jaak Tomberg to our quotidian urge to know what FUTURE OLD-FASHIONED Jaak FUTURE to what looks like a massive paper GOOD things might be likeTomberg in the next Jaak Tomberg FUTUREtransforms OLD-FASHIONED GOOD shredder that probably few years, decades, or centuries— Jaak Tomberg GOOD Jaak Tomberg OLD-FASHIONED GOOD written words to sound, the teacher FUTURE from new technologies to different OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED inserting the appropriate books social formations to alien ecologies, FUTURE OLD-FASHIONED GOOD Tombergjust FUTURE into the converter. Nicely dressed and so on. AndJaak sometimes, Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg ladies and gentlemen are spending sometimes, it turns out to have GOOD Tomberg FUTURE OLD-FASHIONED GOOD summertimeJaak leisurely walking on predicted precisely what happens. OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED a pond, a small balloon and a pair We do experience a peculiar kind FUTURE Jaak FUTURE of woodenOLD-FASHIONED skis effortlessly keeping GOOD of enjoyment in the Tomberg very seldom Jaak Tomberg FUTURE OLD-FASHIONED GOOD each one of them afloat. occasions when SF seems to have Jaak Tomberg GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD gotten its future “right”—when it OLD-FASHIONED GOOD FUTURE rather OLD-FASHIONED These are all scenes from regularJaak Tomberg seems to have anticipated FUTURE OLD-FASHIONED Jaakas Tomberg FUTURE daily life, and one can instantly tell GOOD than extrapolated, was the case Jaak Tomberg FUTURE GOOD Jaak Tomberg that what is new about them is OLD-FASHIONED the with many predictions in John GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD technology on show, whereas the Brunner’s Stand on Zanzibar, from OLD-FASHIONED GOOD FUTURE OLD-FASHIONED Victorian society with its norms, Jaak Tomberg 1969, whose vision of the year 2010 FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE manners, postures and fashions has even includes a popular leader Jaak Tomberg FUTURE OLD-FASHIONED GOOD But to Jaak Tomberg stayed the same. Watching them named President Obomi. GOOD Jaakkind Tomberg offers a peculiar of pleasure: FUTURE expect SF toOLD-FASHIONED tell us what things will GOOD OLD-FASHIONED we know that theGOOD future time theyJaak Tomberg really be like is toFUTURE confuse it with OLD-FASHIONED FUTURE envision isOLD-FASHIONED already our past, so that GOOD futurology. TheJaak vastTomberg majority of SF’s FUTURE Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg 66 GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD

OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED FUTURE futuresOLD-FASHIONED GOODto 1984. Such Jaak turn out to be totally wrong isTomberg also the case withFUTURE Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg with regard to what will actually SF of the present, whose prevalent GOOD happen, and Jaakwe Tomberg FUTURE GOOD quietly acknowledge structureOLD-FASHIONED of feeling seems to be that OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED that fact every time we pick up a of the apocalypse that takes place, if FUTURE book orOLD-FASHIONED Jaak Tomberg repertoireFUTURE start a film. We also knowGOODthe dominant Hollywood is Jaak Tomberg FUTURE OLD-FASHIONED Jaak that giving us the “right answers” to be believed,GOOD either immediately or Tomberg GOOD about theJaak Tomberg FUTURE OLD-FASHIONED future is by no means the at least quite soon. However near orGOOD OLD-FASHIONED GOOD Jaak Tomberg main the purpose of SF, and that far the future FUTURE that SF posits, itOLD-FASHIONED always FUTURE the enjoyment OLD-FASHIONED GOODenables theJaak Tomberg gained from reading traveller it takes along FUTURE Jaak Tomberg GOODmeaningfulJaak Tomberg or watchingFUTURE SF is of a muchOLD-FASHIONED more to notice something GOOD general epistemological Jaak Tomberg nature. The FUTURE about theOLD-FASHIONED actual undercurrents of GOOD OLD-FASHIONED GOOD of its manifold Jaak Tomberg FUTURE OLD-FASHIONED functional purpose her own present. These, then, are FUTURE futuresOLD-FASHIONED GOOD Jaak Tomberg has always been to energize the two functions of the future in FUTURE Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg our imagination as present historical SF: to anticipate and to reflect. They GOOD beings, toJaak Tomberg FUTURE OLD-FASHIONED educate and articulate are seemingly contradictory, and GOOD OLD-FASHIONED FUTURE OLD-FASHIONED our sense of GOOD future difference Jaak and Tomberg the former is much weaker than the FUTURE potentiality. OLD-FASHIONED Jaak Tomberg And it is quite likely GOODlatter. But no matter how big their FUTURE Jaak Tomberg FUTURE GOOD Jaak Tomberg that improbable, unrealistic,OLD-FASHIONED even functional disproportion, they are GOOD fantastic Jaak Tomberg FUTURE OLD-FASHIONED visions of the future fulfill both at work when we compare a GOOD OLD-FASHIONED FUTURE OLD-FASHIONED that functionGOOD more efficiently.Jaak Tomberg given SF future to our own state FUTURE OLD-FASHIONED GOODof affairs. Jaak Tomberg FUTURE Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg In this sense, SF is not about the GOOD future at Jaak GOOD all. ItTomberg is merely mostly FUTURE And theyOLD-FASHIONED are also both at work OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED set in the future. What it is about, when we consider the vast realm of FUTURE ultimately, OLD-FASHIONED Jaak Tomberg is the present. This is GOODSF’s past futures, of the countless FUTURE Jaak Tomberg FUTURE of the future OLD-FASHIONED GOOD Jaak Tomberg the second function ways in which the future has been GOOD in SF: to reflect Jaak Tomberg upon the now. SFFUTURE imaginedOLD-FASHIONED during the course of the GOOD OLD-FASHIONED GOOD Jaak Tomberg FUTURE L’An 2000 OLD-FASHIONED takes us on an imaginary journey past two centuries—En FUTURE into theOLD-FASHIONED GOODbeing just one Jaakexample. TombergThis is an FUTURE future, so that we can stand Jaak Tomberg FUTURE GOOD Jaak Tomberg there and look back onto ourOLD-FASHIONED current attractive realm, to be sure, an object GOOD state of affairs. Jaak Tomberg FUTURE OLD-FASHIONED It creates a fictional, of both the historian’s investigationGOOD OLD-FASHIONED GOOD FUTURE hypothetic space that enablesJaak us Tomberg and the collector’s fetish. YouOLD-FASHIONED can FUTURE to see present OLD-FASHIONED GOOD Jaak Tomberg FUTURE tendencies and get a first-hand glimpse of the Jaak Tomberg FUTURE OLD-FASHIONED Tomberg undercurrents that are otherwise breadth of thisGOOD realm if you takeJaak a GOOD invisible, Jaak Tomberg FUTURE OLD-FASHIONED GOOD since in our unstoppable look at Paleofuture, an online blog OLD-FASHIONED Jaak Tomberg OLD-FASHIONED everyday we GOOD take them too much that has been FUTURE collecting futures of FUTURE for granted. OLD-FASHIONED GOODthe past forJaak Tomberg SF re-casts the present many years now,1 or at FUTURE Jaak Tomberg OLD-FASHIONED GOOD thread with Jaak Tomberg reddit’s RetroFuturism into the pastFUTURE of a determinate future, GOOD and thereby Jaak Tombergthe present, FUTURE OLD-FASHIONED its hundreds of posts.2 From flying GOOD refreshes OLD-FASHIONED GOOD Jaak FUTURE OLD-FASHIONED paddle wheelers of 1936 to solarso that we can experience it as if Tomberg FUTURE for the OLD-FASHIONED GOODpowered automatic Jaak Tomberg lawn-mowers FUTURE very first time. Such was the Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg of 1959, they demonstrate that the case with Herbert George Wells, GOOD whose Time JaakMachine Tomberg FUTURE future is OLD-FASHIONED fundamentally volatile, thatGOOD took the reader OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED two different points in historical from 1895 to 802,701 AD; and FUTURE with George OLD-FASHIONED GOODtime do notJaak Tomberg share the same future, FUTURE Orwell, whose famous Jaak Tomberg FUTURE OLD-FASHIONED GOOD and that any given moment in Jaak Tomberg dystopia took the reader from 1949 GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD 1 See: https://paleofuture.gizmodo.com OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED 2 See: https://www.reddit.com/r/RetroFuturism FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE 67 Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg

GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD OLD-FASHIONED GOOD countlessJaak Tomberg FUTURE OLD-FASHIONED historical time contains constantly transforms our futuristic FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE different futures. horizons: think of how Trump’s Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg presidency was almost unimaginable GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD The realm of past futures is thus just a few years ago, and how OLD-FASHIONED GOOD FUTURE also a realm with a very peculiar Jaak Tomberg irrelevant everything we imaginedOLD-FASHIONED FUTURE GOOD Jaak Tomberg ontologicalOLD-FASHIONED status. Past events to be the future then has become by FUTURE Jaak Tomberg FUTURE way and OLD-FASHIONED GOOD Jaak Tomberg happened in a particular now. Isn’t the same all the more true GOOD Jaakour Tomberg GOOD constitute, from vantage point, FUTURE with futuristOLD-FASHIONED visions from a more OLD-FASHIONED Jaak Tomberg FUTURE an ideal singularGOOD necessity: no distant past—from pre-Facebook OLD-FASHIONED or FUTURE GOOD Jaak Tomberg matter howOLD-FASHIONED little we know about pre-YouTube times, or from the time FUTURE Jaak Tomberg FUTURE OLD-FASHIONED Jaak Tomberg them and how much we speculate when the future ofGOOD En L’An 2000 was GOOD Tomberg one FUTURE OLD-FASHIONED GOOD about them, Jaak they happened sketched? The futures they project OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED way and not the numerous other are not our future; and rarely have FUTURE GOOD Jaak Tomberg FUTURE imaginableOLD-FASHIONED ways they could have they become our actual present. A Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg happened. The historian’s narration, vast amount of them are also past GOOD Tomberg OLD-FASHIONED GOOD if its intent isJaak to be meaningful with FUTURE their “due date”—and very few of OLD-FASHIONED GOOD is curved Jaak Tomberg FUTURE probability OLD-FASHIONED respect to the present, them still have sufficient FUTURE OLD-FASHIONED Jaak Tomberg FUTURE towards this ideal singular necessity. GOOD of ever actualizing. Collector’s Jaak Tomberg FUTURE GOOD But any particular past momentOLD-FASHIONED fetish and aesthetic pleasure aside, Jaak Tomberg GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD could spur countless different why should we still be interested OLD-FASHIONED GOOD Jaak Tomberg FUTURE futuresOLD-FASHIONED visions of the future: together, these in them? Do the imaginary FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE visions constitute an enormous of the past still fulfill their twoJaak Tomberg FUTURE OLD-FASHIONED GOOD multiplicity of past potentialities, fold function of anticipation and Jaak Tomberg GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD an archive that is, in a sense, much reflection with regard to our OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED more open-ended and ethereal than own present? FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE the one that immediately relates Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg to real past events. Nevertheless, I would say they do, but not in a GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD an act of imagining the future is, straightforward manner. They still OLD-FASHIONED FUTURE OLD-FASHIONED of course, also aGOOD real historical Jaak Tomberg educate and articulate our present FUTURE GOOD Tomberg FUTURE event, and OLD-FASHIONED the ethereal archive of sense of futureJaak difference and Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg past futures is thus a useful tool potentiality. The simple example of GOOD Jaak Tomberg OLD-FASHIONED GOOD for gaining access to a past status FUTURE En L’An 2000 is instructive here. OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED of imaginative possibilities and First, I’ve already noted how the new FUTURE OLD-FASHIONED GOOD Tomberg therefore also to a particular past technologies itJaak has on offer contrast FUTURE Jaak Tomberg FUTURE OLD-FASHIONED GOOD state of affairs. The seeming present with the aesthetic depiction of its Jaak Tomberg GOOD Jaak Tomberg OLD-FASHIONED GOOD technical irrelevance of past futures FUTURE Victorian society that has largely OLD-FASHIONED GOODproves most Jaak Tomberg FUTURE OLD-FASHIONED such as En L’An 2000 remained unchanged. This indicates FUTURE FUTURE efficiently OLD-FASHIONED that SF has always been GOOD how difficult itJaak is toTomberg envision total Jaak Tomberg FUTURE OLD-FASHIONED GOOD change in Jaak Tomberg about the moment it’s created in. Its social and technological GOOD Tomberg OLD-FASHIONED GOOD past futures Jaak are first and foremost FUTURE all its manifold particular details. OLD-FASHIONED GOOD FUTURE to whatOLD-FASHIONED relevant as historical documents. Jaak Tomberg It makes us pay attention FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE we, while devising our own visions Jaak Tomberg FUTURE But it is the relation of this vastOLD-FASHIONED of the future, wantGOOD to change and Jaak Tomberg GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD ethereal archive of past futures leave unchanged, and to what we OLD-FASHIONED OLD-FASHIONED to our particularGOOD present momentJaak Tomberg unwittingly leave FUTURE unnoticed. Second, FUTURE OLD-FASHIONED GOOD Tomberg that puzzles and interests me the the impressionJaak of extrapolative and FUTURE Jaak Tomberg OLD-FASHIONED GOOD in En L’An Jaak Tomberg most. HistoricalFUTURE present is subject aesthetic naiveté evident GOOD Tomberg OLD-FASHIONED to perpetual Jaak change. This change FUTURE 2000 relieves our imagination from GOOD OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED 68 FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE

Jaak Tomberg FUTURE OLD-FASHIONED GOOD the restrictive Jaak Tomberg burden of “gettingFUTURE our OLD-FASHIONED GOOD Jaak futures right”. All these past futuresTomberg FUTURE are theOLD-FASHIONED clearest evidence that theGOOD Jaak Tomberg OLD-FASHIONED future of theFUTURE coming generations GOOD will be different Jaak Tomberg FUTURE from that of ours, OLD-FASHIONED Jaak Tomberg and that our GOOD own visions of the FUTURE future will OLD-FASHIONED very soon become justGOOD Jaak Tomberg FUTURE as naive as En L’An 2000 is OLD-FASHIONED to us. GOOD We create Jaak Tomberg FUTURE these visions not in order OLD-FASHIONED GOOD or becomeJaak for them to predict true,Tomberg FUTURE but in order OLD-FASHIONED GOOD to energize our present Jaak Tomberg OLD-FASHIONED imaginationFUTURE and to transform our GOOD current horizons Jaak Tomberg FUTURE of futurity. OLD-FASHIONED GOOD Jaak Tomberg FUTURE But theOLD-FASHIONED GOOD vast archive of past futures, Jaak Tomberg OLD-FASHIONED to which ourFUTURE own will soon be GOOD added, isJaak FUTURE also Tomberg meaningful on a level OLD-FASHIONED Jaak Tomberg more generalGOOD than some particular FUTURE technological OLD-FASHIONED developments or GOOD Jaak Tomberg FUTURE next new gadgets in the veinOLD-FASHIONED of En GOOD L’An 2000. Jaak Tomberg First, the comparisonFUTURE OLD-FASHIONED GOOD Jaak Tomberg of different past futures enables FUTURE us to observe OLD-FASHIONED what aspects and GOOD Jaak Tomberg FUTURE OLD-FASHIONED problems of social or economic life GOOD have become Jaak more Tomberg FUTURE or less relevant, OLD-FASHIONED GOOD Jaak Tomberg and what kind of problems have FUTURE persisted OLD-FASHIONED GOOD through decades. Second, Jaak Tomberg OLD-FASHIONED past futuresFUTURE may not actualize, but GOOD they might Jaak Tomberg become very actual FUTURE OLD-FASHIONED GOOD as metaphors—as is currently Jaak the Tomberg FUTURE case with OLD-FASHIONED Margaret Atwood’s TheGOOD Jaak Tomberg OLD-FASHIONED Handmaid’s FUTURE Tale, whose author GOOD recently said Jaakthat Tomberg FUTURE it has far greater OLD-FASHIONED GOOD Jaak Tomberg relevance now than at the time of it’s FUTURE writing.OLD-FASHIONED GOOD On this metaphorical level, Jaak Tomberg FUTURE OLD-FASHIONED the enormous archive of past futures GOOD is alwaysJaak Tomberg potentially meaningful.FUTURE It OLD-FASHIONED Jaak is there in itsGOOD enormity, waiting to Tomberg FUTURE become OLD-FASHIONED GOOD relevant. Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE OLD-FASHIONED GOOD Jaak Tomberg FUTURE 69 OLD-FASHIONED GOOD Jaak Tomberg

Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia)

ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching

Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum 70 of Estonia

Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn

(1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971 Etching Art Museum of Estonia Foundation Vello Vinn (1939, Estonia) ROCKETS. 1971

Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS Vello Vinn ROCKETS

Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld

(1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia)

PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018

Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation

Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION Laura Põld PREMONITION

Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist

Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by

le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique

in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with

Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of

Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation Laura Põld (1984, Estonia) PREMONITION. 2018 Installation Courtesy of the artist Commissioned by le lieu unique in collaboration with Art Museum of Estonia Foundation

Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED BIKINICARE (M) HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED BIKINICARE (M) HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED BIKINICARE (M) HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist

DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED BIKINICARE (M) HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED BIKINICARE (M) HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED BIKINICARE (M) HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED 80 BIKINICARE (M)

HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED BIKINICARE (M) HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED BIKINICARE (M) HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands) WHOOBA ROSIE. 2017 Sculpture Courtesy of the artist DOLL BORN DAYTIME (M) HATCHBACK. 2018 Sculpture Courtesy of the artist BANNINI FITTED BIKINICARE (M) HATCHBACK. 2018 Sculpture Courtesy of the artist Nicholas Riis (1987, Denmark/Norway/ The Netherlands)

Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE Nicholas Riis WHOOBA ROSIE

Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller

THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE Nat Muller THE SIRENIA’S TALE

THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE

Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE Nat Muller SIRENIA’S TALE

THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE

THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE

Nat Muller THE SIRENIA’S TALE SIRENIA’S TALE Tale Nat Muller The Sirenia’s Nat Muller THE SIRENIA’S TALE They came running to us when the SIRENIA’S TALEAsh sticking NattoMuller fires came. their skin, Nat Muller THE SIRENIA’S TALE their toxic concoction of greed and SIRENIA’S TALEcrushed toNat Muller hubris now a sticky black Nat Muller THE SIRENIA’S powder. Gone was their Internet TALE SIRENIA’S TALE Nat Muller of Things, their Insta feed, their Nat Muller THE SIRENIA’S TALE YouTube stars and influencers, their SIRENIA’S TALE capitalism. Nat Muller bio-genetic There was Nat Muller THE SIRENIA’S but the cold embrace of water. InTALE the SIRENIA’S TALE Nat Muller wet mulch of survival and flapping Nat Muller THE SIRENIA’Sand TALE gills their political correctness SIRENIA’S TALE Nat Muller trigger warnings didn’t mean much. Nat Muller SIRENIA’S “How ironic”, we THE muttered bitterlyTALE as SIRENIA’S TALE Nat Muller we observed the charred remnants of Nat Muller THE SIRENIA’S TALE their scorched world. Their demise SIRENIA’S Nat Muller gave usTALE no reason to rejoice as in Nat Muller SIRENIA’S TALE passing they hadTHE contaminated SIRENIA’S TALE Nat Muller our world with toxic waste, microNat Muller THE SIRENIA’S plastics, and oil slicks. They had TALE SIRENIA’S TALE depleted the bounty ofNat theMuller seas with Nat Muller THE SIRENIA’S over-fishing and deep-sea mining.TALE SIRENIA’S TALE Nat Muller “Typical settler colonialists”, we Nat Muller THE SIRENIA’S TALE thought, “even in the places where SIRENIA’S TALE breathe. Remember Nat Mullerhow they cannot Nat Muller THE SIRENIA’S TALE they always dreamed of conquering SIRENIA’S TALE Nat Muller the moon and other planets? Show Nat Muller THE SIRENIA’S TALE us one sci-fi story that is not about SIRENIA’S TALEone group Nat Muller privileging by subjugating Nat Muller THE their SIRENIA’S TALE another and stealing resources.” SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S And yet, welcome them we did, atTALE SIRENIA’S TALE Nat Muller least the very few who made it. We Nat Muller THEsprinted SIRENIA’S TALE pitied them as they to the SIRENIA’S TALE Nat Muller shores in blind panic and dove into Nat Muller SIRENIA’S TALE the water. Some THE of them barely knew SIRENIA’S Mullerand how to TALE swim, gasping Nat for breath Nat Muller THE SIRENIA’S gulping down seawater. We knewTALE it SIRENIA’S TALE everything Nat for Muller would change us, and Nat Muller THE Their SIRENIA’S TALE everything for them. ecocide SIRENIA’S TALE became ours Nat too, Muller unsettlingly or Nat Muller THE SIRENIA’S TALE rather this had always been the case. SIRENIA’S TALE Nat Muller They were never sensitive to the Nat Muller THE SIRENIA’S TALE effect of their actions on others, on SIRENIA’S TALE They hadNat Muller non-humans. thoroughly Nat Muller THE SIRENIA’S TALE internalised anthropocentrism, save SIRENIA’S TALE Natwondered Muller for a very few. We often Nat Muller THE SIRENIA’S TALE whether it was genetic, evilly SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE

Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALEas a selfishNat Muller scripted into their DNA Nat Muller THE SIRENIA’S TALE gene. It was hard for us to stomach. THE SIRENIA’S TALE Nat Muller This ruin was caused purely by Nat Muller THE SIRENIA’S TALE human agency: they had crafted THE SIRENIA’S disaster capitalism TALE to perfection, Nat Muller Nat Muller THEuntil SIRENIA’S TALE exercising their human privilege TALE Nat Muller theTHE verySIRENIA’S end. Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE they had Nat Muller From the very beginning Nat desired Muller us in their THE SIRENIA’S TALE vilified and THE SIRENIA’S TALE misogynist mythologies with their Nat Muller Nat Muller tales of trickster sirens luringTHE SIRENIA’S TALE THE SIRENIA’S men to their death. TALE Half fish, half Nat Muller Nat Muller SIRENIA’S TALE human. Always lesser beings;THE always THE SIRENIA’S TALE examples of rapacious femininity Nat Muller Nat Muller THE SIRENIA’S TALE on the prowl. They never really THE SIRENIA’S Nat Muller ventured below the TALE surface to try and Natour Muller SIRENIA’S TALE understand aquatic lives,THE or our THE SIRENIA’S Nat Muller achievements. TheyTALE didn’t care. They Nat Muller THE SIRENIA’S TALE were too busy re-tweeting and liking, THE SIRENIA’S TALE floors, and Nat Muller throwing oil on museum Nat Muller THE SIRENIA’S TALE exploiting or killing one another. It THE SIRENIA’Sthat TALE was exasperating they could Nat Muller Nat Muller THE SIRENIA’S TALE never see us as allies and as equals. THE SIRENIA’S TALE learned Nat Muller Imagine what we could’ve Nat Muller from each other. Imagine all THE the SIRENIA’S TALE THE SIRENIA’S TALEpassed on Nat Muller knowledge we could’ve THE SIRENIA’S TALE to them:Nat our Muller theories on the physics THE SIRENIA’S TALE Nat Muller of fluidity, the complexities of Muller THE SIRENIA’S TALE nautical Nat inter-species relations and THE SIRENIA’S TALE co-existence, and the pleasures of Nat Muller Nat sexuality. Muller THE SIRENIA’S TALE amphibious But they only THE SIRENIA’S TALE Nat Muller saw our fish brain and scaled limbs, Nat Muller THE SIRENIA’S TALE myopic as they were. THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE We never saw ourselves as their THE SIRENIA’S pelagic saviours. It TALE seemed more Nat Muller Nat Mullerthat had joined THE SIRENIA’S TALE like a sick destiny SIRENIA’S TALE Nat Muller ourTHE fates together. We always Nat Muller THE SIRENIA’S TALE remembered what they had done SIRENIA’S TALE to THE the seabed, the bleaching and Nat Muller Nat Muller THE SIRENIA’S TALE destruction of the coral reefs – our THEdata SIRENIA’S prime storage TALE damaged for Nat Muller Nat Muller SIRENIA’S TALE generations. The poisons thatTHE were THE SIRENIA’S TALE polluting our habitat forced us to Nat Muller Nat Muller avoid certain areas, shrinkingTHE our SIRENIA’S TALE THEItSIRENIA’S Nat Muller world. is as if theyTALE were replicating Nat Muller THE SIRENIA’S TALE the havoc they wreaked on land, THE SIRENIA’S TALE Nat Muller 84 Nat Muller THE SIRENIA’S TALE

THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE

Nat Muller THE SIRENIA’S TALE SIRENIA’S TALE Nat perhaps Muller even underwater. And then, Nat Muller THE SIRENIA’S TALE worse, wherever we looked, the SIRENIA’S TALE of their presence: Nat Muller wreckage old navy Nat Muller THE SIRENIA’S TALE vessels and submarines oxidising SIRENIA’S TALE Muller debris on the ocean floor,Nat industrial Nat Muller SIRENIA’S TALE and garbage THE patches, submarine SIRENIA’S TALE Nat Muller communication cables. They’ve Nat Muller THE SIRENIA’S TALE always tried to tame the waters, SIRENIA’S TALEit into submission Nat Muller to beat for their Nat Muller THE SIRENIA’S own advantage. This was not TALE SIRENIA’S TALErevenge. Nat Muller a sweet Nat Muller THE SIRENIA’S TALE SIRENIA’S TALE Nat Muller The early days were strangely Nat Muller SIRENIA’S TALE calm, almostTHE harmonious, defined SIRENIA’S TALE Nat Muller by a mutual suspicion. They had Nat Muller THEtheir SIRENIA’S TALE lost everything: homes, kin, SIRENIA’S TALEand their tomorrow. Nat Muller history, There Nat Muller THE SIRENIA’S was nothing to rebuild from. ItTALE was SIRENIA’S TALE So they listened Nat Muller all gone. to our Nat Muller THEtoSIRENIA’S TALE stories, grateful be saved, yet SIRENIA’S withTALE apprehension.Nat WeMuller cared for Nat Muller THE SIRENIA’S TALEWe them: fed them, kept them warm. SIRENIA’S TALE Nat Mullerin water taught them how to breathe Nat Muller THE SIRENIA’S TALE through their lungs and improve their SIRENIA’S TALE skills. How Nat to Muller swimming vocalise Nat Muller THE SIRENIA’S TALE and communicate in water using an SIRENIA’S TALE Nat Muller organ that had become vestigial but Nat Muller THE SIRENIA’S TALE was a reminder that once, all life – SIRENIA’S TALE themselves Nat–Muller including had come Nat Muller SIRENIA’S TALE from the sea.THE Nevertheless, they SIRENIA’S TALE Nat Muller clung to their human identities and Nat Muller THE SIRENIA’S TALE their past with a strange nostalgia. SIRENIA’S TALE Nat Muller It was disconcerting to us that their Nat Muller TALE only sliver ofTHE hopeSIRENIA’S was a pining SIRENIA’S TALE Nat Muller for what they thought made them Nat Muller THE SIRENIA’S TALE human – which they could never SIRENIA’S TALE Nat Muller quite articulate – when they could Nat Muller THE SIRENIA’S be so much more. They couldTALE be of SIRENIA’S TALE worlds, inhabit Nat Muller so many a multitude Nat Muller THEand SIRENIA’S TALE of subjectivities imaginaries, SIRENIA’S TALEaquamarine, Nat Muller human, and other, but Nat Muller THE SIRENIA’S TALE were reluctant to do so. Inclusivity SIRENIA’S Natforte. Muller hadTALE never been their Nat Muller THE SIRENIA’S TALE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE 85

Nat Muller THE SIRENIA’S TALE THE SIRENIA’S Nat Muller Once the initial TALE shock had waned Nat Muller THE SIRENIA’S TALE they became more hostile to their THE TALE new SIRENIA’S environment and started toNat Muller Nat Muller THELiving SIRENIA’S TALE criticise and reject our ways. THE SIRENIA’S TALEa past thatNat the present through hadMuller Natgone, Muller THE TALE forever they failed to seeSIRENIA’S the THE SIRENIA’S TALE possibility of the contemporaryNat Muller Nat Muller THE SIRENIA’S TALE moment, and more importantly, THE SIRENIA’S TALEreasoning with Nat Muller the future. We tried Mullerthat they had THEfallen SIRENIA’S TALE them,Nat pleading THE TALEBut it wasNat into SIRENIA’S this trap before. to Muller Nat Muller THEin SIRENIA’S TALE no avail. They started talking THE SIRENIA’S TALE Nat Muller hierarchical terms, idealising the Nat above Mullerand talking THE SIRENIA’S TALE glorious down THE SIRENIA’S TALE Nat Muller the watery below. They had been Muller THElong SIRENIA’S TALE thereNat before too. And before THE SIRENIA’S these emotionalTALE land creatures,Nat Muller Nat THE SIRENIA’S TALE prone to Muller irrationally destructive THE SIRENIA’S TALE around Nat behaviour, had grouped a Muller Nat Muller THE SIRENIA’S TALE ‘leader’, a concept foreign to us. THE Muller ThisSIRENIA’S leader, loudTALE and blunt, wasNat selfNat Muller THE SIRENIA’S TALE appointed, rigid, and angry. With THE SIRENIA’S TALE Nat Muller messianic zeal he set the survivors Nat Muller THE SIRENIA’S TALE up against us, their saviours. We THE SIRENIA’S TALEpeople outNat Muller did not rescue these Nat Muller THE SIRENIA’S TALE of a sense of duty – that concept THE SIRENIA’S TALE Nat Muller is foreign to us too – but because NattoMuller THE SIRENIA’S TALE we had save ourselves too, THE SIRENIA’Sthat TALE Nat Muller understanding in any ecology Nat Muller THE IfSIRENIA’S TALE everything is interconnected. you THE SIRENIA’S TALE Nat Muller take out one domino stone, the rest Nat Muller fall. They THE SIRENIA’S TALE will inadvertently took THE SIRENIA’S TALE Nat Muller out many stones and we attempted Nat Muller SIRENIA’S TALE desperately to prop them THE up. But THE SIRENIA’S TALE Nat Muller still topple they did. Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Natfor Muller We worried about this preference Natideology Muller over tangible THE SIRENIA’S TALE fanciful liquid THE SIRENIA’S Nat Muller possibility; of a TALE dark exclusionary Muller THE SIRENIA’S TALE past Nat reigning over an unkempt THE SIRENIA’S TALEpromised them Nat Muller present. This leader Nat Muller THE SIRENIA’S TALE the only thing we could not provide: THE SIRENIA’S TALE Nat Muller humanity. And so they retreated, Nat Muller THE SIRENIA’S TALE shunning us. Reverting to their old THE SIRENIA’S Nat Muller habits of seeingTALE us as lesser beings: Nat Muller THE SIRENIA’S TALE half fish, half mammal, definitely THE SIRENIA’S TALEit becameNat not human. ‘Human’: the Muller Nat only Muller THE SIRENIA’S TALE one and trait that mattered to THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE

THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE

Nat Muller THE SIRENIA’S TALE SIRENIA’S TALEus from them. Nat Muller distinguish We tried Nat Muller THE SIRENIA’S to fight it and restore what little TALE SIRENIA’S balanceTALE there was left,Nat butMuller strife is Nat Muller THE SIRENIA’S TALE not in our nature. They had learned SIRENIA’S TALE absolutely nothing. Nat Muller Nat Muller THE SIRENIA’S TALE SIRENIA’S Nat Muller Only a TALE few of them stayed with us. Nat Muller THE The rest, swept up by SIRENIA’S a desire to TALE SIRENIA’S Natworld, Muller restoreTALE the idea of a lost left. Nat Muller THE SIRENIA’S TALE Yes, this was only an idea, because SIRENIA’S TALE Nat Muller there was nothing to restore or return Nat Muller THE SIRENIA’S to. Their hope was based on theirTALE SIRENIA’S TALE Nat Muller susceptibility to the ravings of one Nat Muller SIRENIA’S TALE individual. “How THE quaint”, we thought, SIRENIA’S TALE Nat Muller “that they keep on repeating the Nat Muller THEand SIRENIA’S TALE same mistakes over over again.” SIRENIA’S TALE we thinkNat Muller In retrospect it had all to do Nat Muller THEconcept SIRENIA’S TALE with power, another foreign SIRENIA’S TALEeither had Nat Muller to us. They to wield it or Nat Muller THE SIRENIA’S TALE yield to it. SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE We saw them, not so long thereafter, SIRENIA’S TALE Nat Muller stranded on the shoreline, under Nat Muller THE SIRENIA’S a sky still thick with black soot. TALE SIRENIA’S TALE Nat Muller They were hardly breathing, their Nat Muller THEnon-existing SIRENIA’S TALE lungs trying to filter SIRENIA’S Natair. Muller oxygenTALE out of the smoky They Nat Muller THE SIRENIA’S TALE had written something in the slimy SIRENIA’S TALE Nat Muller mud, we could barely make it out as Nat Muller THEby SIRENIA’S it was washed away the waves:TALE SIRENIA’S TALE Nat Muller HISTORY-HOME-HUMAN. It read Nat Muller THE SIRENIA’S as a ridiculous slogan, definitely TALE SIRENIA’S Natwe Muller not oneTALE to die for. While did not Nat Muller THE SIRENIA’S have exact equivalents for these TALE SIRENIA’S TALE Natassumed Muller terms in our species, we Nat Muller THE SIRENIA’S TALE it must have been of importance SIRENIA’S TALE Nat Muller to them. Its narrow interpretation Nat Muller SIRENIA’S TALE and conservativeTHE implementation SIRENIA’S TALE to our sensibility Nat Muller ran contrary Nat Muller THE SIRENIA’S that somehow everything should TALE SIRENIA’S Nat Mullerand always TALE be mutable, changeable, Nat Muller THE SIRENIA’S TALE adaptable. Change as the only way SIRENIA’S TALElife, in its expanded Nat Muller to preserve Nat Muller THE SIRENIA’S TALE form. But they chose not to change, SIRENIA’S TALE NatWe Muller petrified in their beliefs. know Nat Muller THE SIRENIA’S of another species, very slowly TALE SIRENIA’S TALE Nat Muller and barely evolving, relatively Nat Muller THE SIRENIA’S unchanged for millions of years: TALE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE

Nat Muller THE SIRENIA’S TALE SIRENIA’S TALE theTHE nautilus shell. Like humans, it Nat Muller Nat Muller THE SIRENIA’S TALE too is an opportunistic predator. SIRENIA’S TALE Nat Muller ButTHE while the nautilus is still quietly Nat Muller THE SIRENIA’S TALE with us, undeserving of the name THEfossil, SIRENIA’S TALE living humans have chosen Nat Muller Natossified Muller in their own THE SIRENIA’S TALE to become THE SIRENIA’S TALEat them forNat Muller callousness. We looked Muller THE SIRENIA’S TALE one last Nat time, lying there decrepit SIRENIA’S Nat Muller andTHE dying alone on TALE that beach, THE thinkingNat thatMuller in the wet mulch of SIRENIA’S TALE THE SIRENIA’S TALE survival and flapping gills, perhapsNat Muller they did Nat not Muller deserve the coldTHE SIRENIA’S TALE THE SIRENIA’S Nat Muller embrace of water. TALE Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller Nat Muller THE SIRENIA’S TALE THE SIRENIA’S TALE Nat Muller 86 Nat Muller THE SIRENIA’S TALE

THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE

THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE THE 87

Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE

LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE 88 TO EAT THEM”. 2017

Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/

Simon Wald-Lasowski “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM” Simon Wald-Lasowski “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM” Simon Wald-Lasowski “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM” Simon Wald-Lasowski “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM” Simon Wald-Lasowski “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM” Simon Wald-Lasowski “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM” Simon Wald-Lasowski “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”

The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY

CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist and Trampoline gallery Simon Wald-Lasowski (1980, France/ The Netherlands) “I THINK THERE’S VERY LITTLE LIKELIHOOD THAT OYSTERS, MUSSELS AND CLAMS HAVE ANY CONSCIOUSNESS SO IT’S DEFENDABLE TO EAT THEM”. 2017 Installation Courtesy of the artist 90 and Trampoline gallery

Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/

The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer DISPATCHES FROM (1982, United Kingdom/ FUTURELAND. 2015 The Netherlands) DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 DISPATCHES FROM 96 Video

Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer

Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND Sol Archer DISPATCHES FROM FUTURELAND

(1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands)

DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Sol Archer Video Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Video Sol Archer Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 98 Courtesy of the artist

The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM

FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer (1982, United Kingdom/ DISPATCHES FROM FUTURELAND. 2015 The Netherlands) Video DISPATCHES FROM FUTURELAND. 2015 Courtesy of the artist Sol Archer Video Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 99 Sol Archer Video

DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015

Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) DISPATCHES FROM (1982, United Kingdom/ FUTURELAND. 2015 The Netherlands) DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Sol Archer Video Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Sol Archer Video Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM FUTURELAND. 2015 The Netherlands) DISPATCHES FROM Video Courtesy of the artist FUTURELAND. 2015 Sol Archer Video (1982, United Kingdom/ Courtesy of the artist 100

FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video Courtesy of the artist Sol Archer (1982, United Kingdom/ The Netherlands) DISPATCHES FROM FUTURELAND. 2015 Video

Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer DISPATCHES FROM (1982, United Kingdom/ FUTURELAND. 2015 The Netherlands) Video DISPATCHES FROM FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM FUTURELAND. 2015 Courtesy of the artist Sol Archer Video Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 Video DISPATCHES FROM Courtesy of the artist FUTURELAND. 2015 Sol Archer Video Courtesy of the artist (1982, United Kingdom/ The Netherlands) Sol Archer DISPATCHES FROM (1982, United Kingdom/ The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ Sol Archer The Netherlands) (1982, United Kingdom/ DISPATCHES FROM The Netherlands) FUTURELAND. 2015 DISPATCHES FROM Video FUTURELAND. 2015 Courtesy of the artist Video Sol Archer Courtesy of the artist (1982, United Kingdom/ 101 Sol Archer The Netherlands)

Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia)

LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016

102

Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation

Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu

Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS Taavi Suisalu LANDSCAPES AND PORTRAITS

103

(1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND

PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and

104

sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist Taavi Suisalu (1982, Estonia) LANDSCAPES AND PORTRAITS. 2016 Interactive video and sound installation Courtesy of the artist

105

Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova

Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon

Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko 106 Pallasvuo

Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn

Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu Anni Puolakka and Jaakko Pallasvuo Guan Xiao Joey Holder Katja Novitskova Norman Orro Kristina Õllek Vello Vinn Laura Põld Nicholas Riis Simon Wald-Lasowski Sol Archer Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and JaakkoANNI PUOLAKKA Kristina Õllek Sol Archer Joeydes Holder Nicholas Riis AND Puolakka réalise performances, Pallasvuo JAAKKO PALLASVUO Vello Vinn Taavi Suisalu Katja Novitskova Simon des vidéos, des installations et Guan XiaoAnni Puolakka Laura Põld Anni Puolakka Orro des Wald-Lasowski and Jaakko Pallasvuo des dessins,Norman dans lesquels Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer are artists based in Helsinki and éléments fondés sur la réalité Katja Novitskova Pallasvuo Vello Vinn Rotterdam. Simon sont incorporés à des mondes Taavi Suisalu Norman Orro Wald-Lasowski Guan Xiao Laura Põld fictifs. Ses œuvres jouent sur lesAnni Puolakka Kristina Õllek Sol Archer Nicholas humains Riis Pallasvuo works with moving Joey Holder frontières d’animaux qui and Jaakko Vello Vinnimages, performances Taavi Suisalu and comics. Katja Novitskova Pallasvuo cherchent une Simon interaction pleine de Laura PõldIn his work, Anni PuolakkaexploresNorman Orro Wald-Lasowski Pallasvuo sens et d’exaltation avec d’autres Guan Xiao Nicholas Riis andofJaakko Kristina Õllek Solobjets Archer the anxieties being alive today, êtres, avec des et avec leurJoey Holder Simon and the prospect Pallasvuo Vello Vinn Taavi Suisalu of living in some environnement. Dernièrement, Katja Novitskova Wald-Lasowski GuanIn Xiao Laura Põld Puolakka possible future. recent years his Puolakka a Anni montré des œuvres auNorman Orro Sol Archerwork has been Joey presented Holder Nicholas Riis and Jaakko at the Göteborgs Konsthall, au Kiasma Kristina Õllek Taavi Suisalu Katja Novitskova Simon(Helsinki), au Pallasvuo Vello Vinn New York Film Festival; Museum of TENT Rotterdam et au Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld Modern Art, Warsaw; TBA21, Austria; Performance Space (Sydney). and Jaakkoand Jupiter Kristina Õllek Sol Archer Joey Holder Nicholas Riis Woods, London, among Pallasvuo others. Vello Vinn Taavi Suisalu Katja Novitskova Simon Sacre (2015) Guan Xiao Laura Põld Anni Puolakka Orro makes Wald-Lasowski A cybergothNorman in her thirties Joey Holder Riis and Jaakko Kristina Õllek Puolakka Nicholas makes performances, dance videos at home, seeking Sol Archer Katja Novitskova Simon and drawings Pallasvuo Vinnin a society Taavi Suisalu videos, installations freedom andVello the truth Norman Orro Laura Põld in which Wald-Lasowski reality-based materialsGuan are Xiao obsessed with productivity and Anni Puolakka Kristina Õllek Sol Archer Joey Holder Nicholas Riis and Jaakko incorporated into fictional worlds. success. Her mode of living is Vello VinnThe worksTaavi Katja Novitskova Simon by an olderPallasvuo play Suisalu with the limits persistently challenged Laura Põldof humanAnni Puolakka Norman Orro Wald-Lasowski animals as they seek brother, whose care and love comeGuan Xiao Nicholas Riis Kristina Õllek Archer his sister. Joey Holder meaningfuland andJaakko vibrant involvement with a desireSol to transform Simon with other beings, Pallasvuo Suisalu objects and Vello Vinn This siblingTaavi drama takes a newKatja turn Novitskova Wald-Lasowski Guan Xiao has recently Laura Põld Anniencounters Puolakka a dance Norman Orro surroundings. Puolakka when the goth Sol Archershown work Joey Holder Nicholas Riis andbrilliance Jaakko leaves Kristina Õllek at Göteborgs Konsthall, prodigy whose Taavi Suisalu Novitskova Simoneveryone elsePallasvuo Vello Vinn Kiasma,Katja Helsinki, TENT, Rotterdam, in darkness. The film Anni Puolakka Norman Space, Orro Sydney. Wald-Lasowski Guan Xiao of the Laura Põld and Performance draws from the thoughts and Jaakko Kristina Õllek Sol Archer Holder SimoneNicholas Riis philosopherJoey and activist Pallasvuo Jaakko Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova Simon et Anni Puolakka Weil (1909-1943), medievalism Guan Xiaosont des artistes Laura Põld Anni Puolakka Norman Orro Wald-Lasowski résidant à Helsinki and cyber culture amongst other Joey Holder Nicholas Riis and Jaakko Õllekwork, art and Sol Archer et Rotterdam. influences, Kristina and viewing Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu dance as war. Norman Orro Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka Pallasvuo travaille avec des images Kristina Õllek Solperformances Archer Joey Holder Nicholas d’une Riis trentaine and Jaakko animées, des et des Une cyber-gothique Vello Vinnbandes dessinées. Taavi Suisalu Katja Novitskova Simon d’années fait des vidéos de danse, Pallasvuo Dans ses œuvres, Laura Põldil exploreAnni Puolakka liées au Norman Orro Wald-Lasowski les angoisses fait chez elle, en quête de liberté et deGuan Xiao Nicholas Riis and Jaakkoet la perspective Kristina Õllek Solsociété Archer obsédée par Joey Holder vérité dans une de vivre maintenant, Simon de vivre dans Pallasvuo Taavi la productivité etSuisalu le succès. SaKatja façonNovitskova un avenir possible.Vello Ces Vinn Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka de vivre est sans cesse contestéeNorman Orro dernières années, son travail a été Sol Archerprésenté au Joey Holder Riis Jaakko Kristina Õllek par son frèreand aîné, dont l’affection Festival du film deNicholas New Taavi Suisalu Katja Novitskova Simon Pallasvuo et l’amour s’accompagnent d’une Vello Vinn York, au Musée d’art moderne de Anni Puolakka Orro Wald-Lasowski Guan Xiao Laura Põld tentative de changer sa sœur. Varsovie, Norman au TBA21 et chez Jupiter and JaakkoWoods, entre Kristina Õllek Sol Archer Joey Holder Nicholas Riis Leur drame familial prend un autres. Pallasvuo Vello Vinn Taavi Suisalu Katjaquand Novitskova tour inattendu la gothique Simon Guan Xiao Laura Põld Anni Puolakka Norman Wald-Lasowski rencontre un prodigeOrro de la danse Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 107 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and Jaakko Joey Holder Nicholas Riis dont le talentKristina sembleÕllek laisser tout Sol Archer GUAN XIAO Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova Simon le monde dans l’ombre. Le film Guan Xiao (b. 1983) lives and works Guan Xiao Laurade Põld Anni Puolakka Norman Orro Wald-Lasowski in Beijing. The question of the s’inspire des idées la philosophe Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer et activiste Simone Weil (1909individual is the central subject Katja Novitskova Simon et de la Pallasvuo Vinn Taavi Suisalu matter in Guan’sVello art, particularly 1943), du médiévalisme Norman cyberculture, Orro Wald-Lasowski Guanthe Xiao Laura challenges of how Põld one should Anni Puolakka entre autres influences, Kristina Õllek Archer l’art et laJoey Holder Nicholas Riis en considérantSol le travail, not simply navigate but harness the and Jaakko Vello Vinn Taavi Suisalu Novitskova Simon and infux Pallasvuo logic of time and speed, danse comme autant de formes Katja de Laura Põld Anni Puolakka Norman Guan Xiao guerre. of Orro technology,Wald-Lasowski while challenging Nicholas Riis and Jaakko Kristina Õllek Solmateriality Archer understandings of and Joey Holder Simon Pallasvuo Vellothe Vinn Taavi Suisalu Katja Novitskova burden of history. Sacre 2: HEX (2017) Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka Norman Orro The solemn cybergoth dance Sol Archer Joey Holder Nicholas Riis and Jaakko Kristina Õllek Guan Xiao graduated from the enthusiast introduced in the first Taavi Suisalu Novitskova Pallasvuo of China Vello Vinn part of the Katja trilogy (Sacre, 2015) has Simon Communication University Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and has exhibited internationally now graduated into a smug Wiccan and Jaakko since 2007. HerJoey workHolder has recently Nicholas Riis vlogger. Her Kristina formerlyÕllek know-it-all Sol Archer Pallasvuo Vello Taavi Suisalu Novitskova Simon been featuredKatja at Kunsthalle brother has fallen onVinn hard times and Guan Xiao Anni Puolakka Norman Orro Winterthur, Switzerland; High Line, Wald-Lasowski now needs herLaura help. Põld Family relations Joey Holder Nicholas Riis and Jaakko New York; ICA,Kristina London;Õllek and the 57th Sol Archer become entangled with work anxiety. Katja Novitskova Simon Vinn Taavi Suisalu Venice Biennale,Vello among others. Virtual and material survival tacticsPallasvuo Norman are Orro Wald-Lasowski Laura Põld Anni Puolakka tested. Spiritual, financial and Guan Xiao Kristina Õllek Sol Archer Joey Holder Nicholas Riis and Jaakko Guan Xiao’s installation social layers mesh in money-burning Vello Vinn Taavi Suisalu Katja Novitskova Simon Pallasvuo rituals. A damaged sibling dynamic Documentary: From National Laura Põld Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao is further destabilized by a seductive Geographic to BBC, 2015 deals with Nicholasalien. Riis and Jaakko Kristina Õllek Soldocumentation Archer Joey Holder the perception and Simon Pallasvuo VelloofVinn Taavi Suisalu Katja Novitskova the objects and images circulating Wald-Lasowski Guan Xiao Lauraaround Põld us, insisting Anni Puolakka Norman Orro La si sérieuse cyber-gothique on the Sol Archer Joey Holder Riis andmeaning Jaakko and theKristina Õllek amatrice de danse évoquée dans Nicholas mutability of their Taavi Suisalu Novitskova Simon Pallasvuo Vello Vinn la premièreKatja partie de la trilogie complexities of defining cultural Anni Puolakka Orro une Wald-Lasowski Guan Xiaosystems. Laura Põld (Sacre, 2015)Norman est devenue structures and knowledge and Jaakko Õllek Joey “everything Holder Nicholas Riis prétentieuse Kristina vlogueuse wiccan. SonSol Archer In Guan Xiao’s view Pallasvuo Vinn Taavi Suisalu Novitskova Simon frère, autrefoisVello si imbu de lui-même, is material forKatja reading,” thus the Guan Xiao Laura Põld Anni Puolakka Norman Orro Wald-Lasowski a connu des coups durs et il a besoin concept of the frame is a central and Joey Holder Nicholas Riisfamilialesand Jaakko de son aide. Les relations recurring motif.Kristina This is Õllek a prominent Sol Archer Katja Novitskova Simon Pallasvuo Vello Vinn se mêlent au stress professionnel. facet of these installations, where Taavi Suisalu Norman Les Orro Wald-Lasowski Xiao objects and Laura Põld Anni Puolakka stratégies de survie, virtuelles Guanvarious framing Kristina Õllek Archer Nicholas Riis and Jaakko et matérielles,Sol sont mises à rude Joey Holder devices are arranged against Vello Vinn Taavi Suisalu Simon Whereas in Pallasvuo épreuve. Les strates spirituelle, Katja Novitskova photographic backdrops. Laura Põld Puolakka Orro Wald-Lasowski financière etAnni sociale se mélangentNorman a photographer’s studio the image Guan Xiao Nicholaslors Riisde rituels and Jaakko Õllek Sol Archer de destruction de Kristina fixes a moment and angle in time, Joey Holder Simon Pallasvuo VelloGuan Vinn Xiao’s patterned Taavi Suisalu billets de banque par le feu. La screens andKatja Novitskova Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka relation frère-sœur dysfonctionnelle choreographed objects open up a Norman Orro Sol Archer Joey Holder andassociations Jaakko est encore davantage déstabiliséeNicholas fieldRiis of generative andKristina Õllek Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn par un séduisant extraterrestre. speculative angles which offer a Anni Puolakka Norman Orro Wald-Lasowski Guan multiplicity of ways ofXiao reading and Laura Põld and Jaakko Kristina Õllek Sol Archer Joeytheir Holder Nicholas Riis seeing objects and cultural Pallasvuo Vello Vinn Taavi Suisalu Simon significance. Katja Novitskova Guan Xiao Laura Põld Anni Puolakka Norman Orro Wald-Lasowski Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 108 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and JaakkoGuan Xiao Kristina Joey Holder Nicholas Riis JOEY HOLDER (née enÕllek 1983) vit et Sol Archer Pallasvuo travaille à Pékin. Vello Vinn Taavi Suisalu Katja Novitskova Joey Holder (b.1979) is a London Simon La question de Guan Xiaol’individu est Laura Põld centralAnni Puolakka Orro her BA Wald-Lasowski based artistNorman who received un thème Joey Holder Nicholas Riis and Jaakko Kristina Õllek from Kingston University and her Sol Archer dans son art, en particulier le Katja Novitskova Simon Vello VinnHer artistic Taavi Suisalu MFA from Goldsmiths. défi qui consiste non seulement Pallasvuo à Norman Orro Guan Xiao Põld Anni Puolakka practice and Laura research spans video explorer Wald-Lasowski mais à exploiter la logique Kristina Õllek SollaArcher Nicholas Riis and multimedia installations bothand Jaakko du temps, de vitesse, du flot Joey Holder Vello Vinntechnologique, Taavi Suisalu Katja Novitskova Simon online and offline. Her work raisesPallasvuo tout en questionnant Laura Põldnos conceptions Anni Puolakka Norman Wald-Lasowski Guan Xiao philosophical questions of our de la matérialité et Orro Nicholas Riis Jaakko Kristina Õllek Archer universe and Sol things yet unknown,Joey Holder le fardeau and de l’histoire. Simon Pallasvuo Vello Vinn Taavi Suisalu regarding the future of science,Katja Novitskova Wald-Lasowski Xiao Laura Põld Anni Puolakka medicine, biology and human- Norman Orro Guan Xiao Guan est diplômée de Sol Archerl’Université Joey Holder Nicholas Riis and Jaakko Kristina Õllek machine interactions. Working with de communication de Taavi Suisalu Katja Novitskova technical experts Vello Vinn Chine, et présente des expositionsSimonscientific andPallasvuo Anni Puolakka Norman Orro Wald-Lasowski Guan XiaomultimediaLaura Põld she makes immersive, internationales depuis 2007. Ses and Jaakkoœuvres ont Kristina Õllek figuré à Sol Nicholas Riis installationsJoey that Holder explore the récemment la Archer Pallasvuo Kunsthalle Vello Vinn à la High Taavi Katja Novitskova Simon limits of the human and how we Winterthur, LineSuisalu Guan Xiaode New York, Laura Põldde Londres, Anni Orronatural Wald-Lasowski experience Norman non-human, and à l’ICA etPuolakka Joey Holder Nicholasde Riis and Jaakko Kristina Õllek Sol Archer technological forms. à la 57e Biennale Venise, entre Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu autres. Norman Orro Wald-Lasowski Guan Xiao Põld Ophiux Anni Puolakka Joey Holder’sLaura installation Kristina Õllek Sol Archer Joey Holder Nicholas Riis Ses installations Documentary: From (2016) steps into the near future and Jaakko Vello VinnNational Geographic Taavi Suisaluto BBC,Katja Simon 2015,Novitskova to unravel the possibilities rooted Pallasvuo Laura PõldévoquentAnni Puolakka Norman Orro Wald-Lasowski in today’s scientific practice. The Guan Xiao la documentation et la Nicholas Riis Kristina Sola Archer work imagines time in which Joey Holder perceptionand desJaakko objets et images qui Õllek Simon circulent autour Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova de nous, en insistant synthetic biology has been fully Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka Norman Orro sur la mutabilité de leur signification realized and applied to both Sol Archeret sur les complexités Joey Holder qui définissent Nicholas Riis and evolution Jaakko and Kristina Õllek advance human Taavi Suisalu Katja Novitskova Pallasvuo and Vello Vinn les structures culturelles et les Simonincrease life expectancy, Anni Puolakka Orro Wald-Lasowski Xiao where humanGuan biology has been Laura Põld systèmes Norman de connaissance. D’après and Jaakkoelle, « tout Kristina Õllek de lecture Sol», Archer Joey Holder Ophiux Nicholas Riis est support computer programmed. Pallasvuo et le concept Vello Taavi Suisalu Novitskova Simon visualizesKatja how current digital de Vinn cadre est un motif Guan Xiaoaussi central Laura Põld Anni Puolakka Norman Orro Wald-Lasowski developments are used to extract que récurrent. C’est Joey Holder Nicholas Riisle cas dans and Jaakko Kristina tout particulièrement data from DNA andÕllek proposes thatSol Archer Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu ces installations, où divers objets in the future the human population, Norman Orro Põld et cadresWald-Lasowski sont installés contre Guan Xiao and millions Laura of other organisms,Anni Puolakka Kristina Õllek Sol Archer Joey Holder Nicholas Riis d’impressionnantes toiles de fond will be genetically sequenced in and Jaakko Vello Vinnphotographiques. Taavi Suisalu order to extractSimon data, with the aim Pallasvuo Tandis que,Katja dansNovitskova Laura Põldun studioAnni Puolakka Norman Orro Wald-Lasowski de photographe, l’image of furthering life. Holder’s work Guan Xiao Nicholas Riis Jaakko Sol Archer Joey Holder fixe dans leand temps un momentKristina et un Õllek envisions a predominantly synthetic Simon angle, les écrans Pallasvuo Vello Vinn à motifs de Guan future, with Taavi only aSuisalu few human Katja Novitskova Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka or anthropomorphic elements Norman Orro Xiao et ses objets chorégraphiés Sol Archerouvrent unJoey Holder Nicholas Riis Kristina Õllek remaining. and Jaakko champ d’associations Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn génératives et d’angles spéculatifs Anni Puolakka Norman Orro Xiao qui offrent une multitude de Wald-Lasowski Joey Holder Guan (née en 1979) est uneLaura Põld and Jaakkopossibilités Kristina Õlleket de Sol Archer JoeyàHolder de lecture artiste installée Londres qui a Nicholas Riis Pallasvuo perceptionVello Vinn et de leur Taavi Suisalu Katja Novitskova des objets obtenu une licence de l’Université Simon Guan XiaoimportanceLaura Põld Anni Puolakka Orro Wald-Lasowski culturelle. de KingstonNorman et une maîtrise ès arts Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 109 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and Jaakko Kristina Õllek et ses Sol Archer Joey Holder de Goldsmiths. Sa pratique In her work Novitskova examines Nicholas Riis Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova recherches artistiques incluent des ecological and information systems, Simon Guan Xiao LauraetPõld Norman Orro installations vidéo multimédia,Anni Puolakka through an engagement with digitalWald-Lasowski Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer tant en ligne que hors ligne. Ses images on the web. Novitskova’s Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu works have gained much travaux posent des questions Norman philosophiques Orro Wald-Lasowski Xiao Laura Põld sur notre univers et Guaninternational recognition and she Anni Puolakka Kristina Õllek Sol Archer à l’avenir Joey Holder Nicholas Riis and Jaakko sur l’inconnu, relativement has recently shown in Whitechapel Vello Vinn SimonArt Museum, Pallasvuo des sciences,Taavi de laSuisalu médecine, deKatja Novitskova Gallery, London; KUMU Laura Põld Norman Orro Greene Wald-Lasowski la biologie etAnni des Puolakka interactions Tallinn; Naftali, New York; CCGuan Xiao Nicholashomme-machine. Riis and En Jaakko Kristina Õllek Sol Archer collaboration Foundation, Shanghai; Kunstverein, Joey Holder Simon Pallasvuo Vello Vinn Taavi Suisalu Hamburg; Kiasma, Helsinki; the Katja Novitskova avec des experts scientifiques Wald-Lasowski Xiao des Laura9th Põld Anni Puolakka Norman Orro et techniques, Guan elle réalise Berlin biennale; and MoMA, Sol Archer Joey Holder Nicholas Riis and Jaakko Kristina Õllek New York. In 2017, she represented installations multimédia immersives Taavi Suisalu Katja Pallasvuo qui explorent les Novitskova limites de l’humain Simon Estonia at the 57th Venice Biennale Vello Vinn Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao et la façon dont nous ressentons les with the solo exhibition If Only You Laura Põld and Jaakko Kristina Õllek Joey Could See What I’ve Holder Seen with YourNicholas Riis formes non humaines, naturelles etSol Archer Pallasvuo Vello Vinn Taavi Suisalu Novitskova Simon technologiques. Eyes, curatedKatja by Kati Ilves. Guan Xiao Laura Põld Anni Puolakka Norman Orro Wald-Lasowski Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer Son installation In Approximation Ophiux (2016) (2018) Katja Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu s’invite dans un futur proche pour Novitskova investigates the nexus Norman éclaircir Orro Xiao Lauraecology Põld and Anni Puolakka les Wald-Lasowski possibilités cachées Guanbetween technology, Kristina Õllek Sol Archer Joey Holder Nicholas Riissource and Jaakko dans les pratiques scientifiques seeing by drawing her own Vello Vinn Taavi Suisalu Simon Pallasvuo actuelles. Cette œuvre imagine Katja Novitskova material from online data banks. Laura Põld Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao un temps dans lequel la biologie Her research shows how seeing has Nicholasde Riis and Jaakko Kristina Õllek Archer agents Joey Holder synthèse est pleinement been outsourcedSol to robotic Simon Vinn Taavi Suisalu opérationnelle Pallasvuo et sert aussi bien à Vellooperating in the depths of the sea Katja Novitskova Wald-Lasowski Guan Xiao Põld Puolakka Norman Orro favoriser l’évolution humaine qu’à Lauraand on distantAnni celestial bodies, Sol Archer Joey Holder Nicholas Jaakko augmenter l’espérance de vie, et où whoRiis experience and these new horizonsKristina Õllek Taavi Suisalu Katja Novitskova la biologie humaine est programmée Simon for us. NavigatingPallasvuo across big-data- Vello Vinn Anni Puolakka Norman Guan her Xiao Laura Põld par ordinateur. OphiuxOrro donne à Wald-Lasowski provided landscapes, works and Jaakko Kristina Õllek Sol Archer Joey Holder Nicholas Riis voir la façon dont les actuels create another visual articulation Pallasvuo Vello Vinn Novitskova Simon développements numériques sontTaavi Suisalu of natural life.Katja In this time of biotic Guan Xiao Laura Põld Anni Puolakka Norman Orro Wald-Lasowski utilisés pour extraire des données crises, vast amounts of data define Joey Holder Nicholas Riis and Jaakko Õllek Sol Archer ADN, et suggère qu’à l’avenir, la ecology on theKristina planetary scale. Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu population humaine et des millions Here, the focus shifts from one Norman d’autres Orro Wald-Lasowski Guangeographical Xiao Laura Põld organismes auront été location to its many Anni Puolakka Kristina Õllek Sol Archer pour Joey Holder Nicholas Riis and Jaakko génétiquement séquencés surfaces, modelled and manipulated Vello Vinn Taavi Suisalu Simon Pallasvuo extraire des données, dans le butKatja Novitskova by the software industry. Laura Põld Puolakka Norman Orro Wald-Lasowski Guan Xiao de prolongerAnni la vie. L’œuvre de NicholasHolder Riis envisage andunJaakko Kristina Õllek Archer Joey Holder futur largement Katja NovitskovaSol (née en 1984) Simon Pallasvuo Velloest Vinn Suisalu synthétique, avec seulement une artiste Taavi estonienne qui vit Katja Novitskova Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka quelques éléments humains ou et travaille actuellement à Berlin Norman Orro Sol Archer Joey Holder Nicholas Riis and Jaakko Kristina Õllek anthropomorphes. et Amsterdam. Dans son œuvre, Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn Novitskova examine les systèmes Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld KATJA NOVITSKOVA écologiques et informatiques à and Jaakko Kristina Õllekis an Sol Archer Joeynumériques Holder Nicholas Riis Katja Novitskova (b.1984) travers des images Pallasvuo Vinnliving andTaavi Suisalu Katja Novitskova Simon Estonian artistVello currently sur la Toile. Ses travaux ont attiré Guan Xiao Laura Norman Orro working in Berlin andPõld Amsterdam.Anni Puolakka l’attention internationale, et elle Wald-Lasowski Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 110 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and Jaakkoa récemment Kristina Õllek Joey Holder Nicholas Riis exposé à la galerieSol Archer under alias Music For Your Plants. Pallasvuo Whitechapel Vello Vinn Taavi Suisalu Katja Novitskova de Londres, au musée Active since 2010 the project has Simon Guan XiaoKUMU de Tallinn, Laura Põld Orro à la galerie Anni Puolakka manifested Norman in concept albums, Wald-Lasowski Joey Holder Nicholas Riis and Jaakko Kristina Õllek Greene Naftali, New York, à la installations, visual essays and Sol Archer Katja Novitskova Simon Vello CC Foundation de Shanghaï, au Pallasvuo collaborations withVinn internationalTaavi Suisalu Norman Orro Wald-Lasowski PõldPlants Anni Puolakka Kunstverein Hamburg, au KiasmaGuan de Xiao artists. MusicLaura For Your Kristina Õllek Archer Joeyet Holder Nicholas Riis and Jaakko Helsinki, à Sol la 9e Biennale de Berlin performs associative research Vello Vinnau MoMATaavi Suisalu Katja Novitskova Simon à New York. En 2017, elle a into digital cartographies of post- Pallasvuo Laura Põldreprésenté Anni Puolakka Norman Orro Wald-Lasowski l’Estonie à la 57e Biennale colonialism and exoticism, using Guan Xiao Nicholas Riis and Jaakko Õllek Sol Archer de Venise avec son expositionKristina If non-human agents as a mode of Joey Holder Simon Only You Could Pallasvuo Vello Vinn Taavi Suisalu See What I’ve Seen communication. Exploring the Katja Novitskova Wald-Lasowski Guanconçue Xiao par Kati Laura Puolakka Norman Orro with Your Eyes, Ilves. Põld concept of Anni ‘world music’ the project Sol Archer Joey Holder Nicholas Riis and Jaakko Kristina Õllek has taken form as a distinct venture Taavi Suisalu Katja Novitskova Pallasvuo Vello Vinn Dans Approximation (2018), Katja Simonin sonic globalism. Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld Novitskova étudie le point nodal and Jaakkoentre la technologie, Kristina Õllek Joey Holder Nicholas Riis l’écologie Sol Archer In Norman Orro’s installation Pallasvuo et le regard, Vello Vinn ses propres Taavi Suisalu Katja Novitskova Simon en tirant A Noisy Planet (2018) human Guan Xiaomatériaux de Laura Põld de données Anni Puolakka Orro Wald-Lasowski banques voices sungNorman by an algorithm morph Joey Holder Nicholas Riis montrent and Jaakko Kristina Õllek en ligne. Ses recherches with a babel of natural disasters Sol Archer Katja Novitskova Vello Vinn que le regardSimon a été externalisé à Pallasvuo des and other semantic sounds whileTaavi Suisalu Norman Orro Wald-Lasowski Guan Xiao Laura by Põld Anni Puolakka opérateurs robotiques qui travaillent being reproduced rock-imitating Kristina Õllek Sol Archer Joey Holder Nicholas Riis and Jaakko dans les profondeurs marines et loudspeakers hinting at the artificial Vello Vinnsur de lointains Taavi Suisalu Katja Simon Pallasvuo corps célestes, en Novitskova division of nature and culture. Taken Laura Põldfaisant pour Anninous Puolakka Norman Orro Wald-Lasowski Guan Xiao l’expérience de as a warning sign for future planet Nicholas Riis andhorizons. Jaakko Naviguant Kristina Õllek Soloffers Archer ces nouveaux dwellers, MFYP a glance Joey Holder Simon dans des paysages Pallasvuo Vello Vinn Taavi condition Suisalu where Katja Novitskova fournis par les at a post-human Wald-Lasowski Guanses Xiao Laura Põld Puolakka mégadonnées, œuvres créent non-humanAnni subjects are given Norman Orro Sol Archerune autre Joey Holdervisuelle Nicholas Riis and Jaakko Kristina Õllek articulation de agency to converse through audible Taavi Suisalu Katja Novitskova Vello Vinn la vie naturelle. En ces temps de Simonfrequencies. Pallasvuo Anni Puolakka Norman Orro quantités Wald-Lasowski Guan Xiao Laura Põld crise biotique, de larges and Jaakkode données Kristina Õllek Sol Archer Joey Holder Nicholas Riis définissent l’écologie Norman Orro (né en 1986) est Pallasvuo à l’échelle Vello Vinn Ici, le point Taavi Suisalu Novitskova Simon planétaire. un artiste,Katja musicien et graphiste Guan Xiaofocal passeLaura Põld Anni Puolakka Norman Orro Wald-Lasowski d’un emplacement estonien. La pratique de Norman Joey Holder Nicholas Riis and Jaakko géographique donné à ses Orro, qui a Kristina étudié leÕllek graphisme à Sol Archer Katja Novitskova Simon Pallasvuo Vello Vinn nombreuses surfaces, modelées l’Académie des arts estonienne, Taavi Suisalu Norman Orro Wald-Lasowski Laura Põldoutils de Anni Puolakka et manipulées par l’industrie duGuan Xiao se caractérise par des Kristina Õllek Joey Holder Nicholas Riis des and Jaakko logiciel. Sol Archer communication visuelle, Vello Vinn Taavi Suisalu Katja Novitskova Simon et une Pallasvuo narrations spéculatives Laura PõldNORMAN Anni Puolakka Norman Orro Guan Xiao ORRO fascinationWald-Lasowski pour l’universelle Nicholas Riis and(b.1986) Jaakko is an Estonian Kristina Õllek Archer Joey Holder Norman Orro prolifération Sol d’images. Simon artist, musician Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova and graphic designer. Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka Norman Orro Having studied graphic design at the En tant que musicien, on le connaît Sol ArcherEstonian Academy Joey Holder Nicholas Riis Jaakko Kristina Õllek surtout sous and le nom de Music For of Arts, Norman Taavi Suisalu Katja Novitskova Simon Pallasvuo Orro’s practice is shaped by visual Your Plants. Actif depuis 2010, ceVello Vinn Anni Puolakka Norman Orrospeculative Wald-Lasowski Guan communication tools, projet a donné lieuXiao à des albums Laura Põld and JaakkonarrativesKristina Õllek Joey Holder concepts, des installations, des Nicholas Riis and a fascination for Sol Archer Pallasvuo the overall Vello Vinn Taavi Suisalu KatjaetNovitskova proliferation of images. essais visuels des collaborations Simon Guan XiaoAs a musician, Laura Anni Puolakka Norman Orro Wald-Lasowski avec des artistes internationaux. hePõld is best known Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 111 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and Jaakko Kristina Sol Archer Holder Nicholas Riis Music For Your PlantsÕllek fait de la Leagues Under Joey The Sea (1870) Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova Simon recherche associative en matière de and juxtaposes it with the current Guan Xiao Põld du postAnni Puolakka Orro cartographies Laura numériques problematics ofNorman deep sea mining. Wald-Lasowski Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer colonialisme et de l’exotisme, en In Verne’s story Captain Nemo Katja Novitskova Simon non humains Pallasvuo Vinnthat there Taavi Suisalu utilisant des opérateurs confirms to Prof.Vello Aronnax Norman comme Orro Wald-Lasowski Guanwas Xiao LauraatPõld mode de communication. Ce valuable metals the bottom Anni Puolakka Kristina Õllek Sol Archer Nicholas Riis projet, qui explore le concept de « Joey Holder of the sea and that mining them was and Jaakko Vello Vinn Taavi Suisalu Katja Novitskova Pallasvuo world music », a pris la forme d’une certainly feasible. Simon Today this has Laura Põld Anni Puolakka Norman Orro a realWald-Lasowski tentative autonome de mondialisme become scenario, as rare sea Guan Xiao Nicholassonique. Riis and Jaakko Kristina Õllek have become Sol Archer minerals essential for Joey Holder Simon Pallasvuo Vellothe Vinn Taavi Suisalu Katja Novitskova increasing demand for high-tech Wald-Lasowski GuandeXiao Põld Anni Puolakkaenergy Norman Orro Dans l’installation Norman Orro Lauraapplications and renewable Sol Archer Joey Holder Nicholas Riis and Kristina Õllek Une Planète bruyante (2018), des technologies. In her Jaakko work Õllek Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn voix humaines chantées par un is interested in how this dubious Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld algorithme se mêlent à un tohubohu situation is represented. Using and Jaakko Kristina Õllek et Sol Archer Joey de catastrophes naturelles the same title as the Holder contentious Nicholas Riis Pallasvuo Vello Vinn et sontTaavi Suisalu Novitskova Simon d’autres sons sémantiques, vessel of the Katja first deep sea mining Guan Xiao Põld Anni Norman Orro its Wald-Lasowski reproduites parLaura des haut-parleurs en Puolakka operation, expected to begin Joey Holder Nicholas Riisallusion àand Jaakko KristinaÕllek Õllekcreates Sol Archer forme de rochers, en une work in 2019, Kristina Katja Novitskova Simonentre nature Pallasvuo Vinn which areTaavi Suisalu la division artificielle a work using theVello materials Norman et Orro Wald-Lasowski Xiao Laura culture. Tel un avertissement auxGuanconnected to deep seaPõld scientific Anni Puolakka Kristina Õllek Sol Archer Joey Holder Nicholas Riis futurs habitants de la planète, MFYP research and mining, developing “a and Jaakko Vello Vinn Taavi Simon Pallasvuo offre un regard sur Suisalu une conditionKatja Novitskova seabed” with artificial elements. Laura Põld Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao post-humaine où des sujets non Nicholashumains Riis and Jaakko Kristina Õllek Õllek (née Solen Archer se voient offrir la possibilité Kristina 1989) est une Joey Holder Simon Pallasvuo Vinn visuelle Taavi Suisalu de converser sur des fréquences Velloartiste installée à Tallinn. Katja Novitskova Wald-Lasowski Guan Xiao LauraElle Põld Puolakka audibles. s’intéresseAnni à l’idée d’étirer les Norman Orro Sol Archer Joey Holder Nicholas Riis frontières de ce and que Jaakko nous voyons Kristina Õllek Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn KRISTINA ÕLLEK et utilisons, comme une image et Anni Puolakka Guan Xiaojours, Laura Põld Kristina ÕllekNorman (b.1989)Orro is a visual Wald-Lasowski un espace, surtout de nos and Jaakko Kristina Õllek Sol Archer Joey Holder Nicholas Riis artist based in Tallinn, Estonia. dans une époque où la technologie Pallasvuo Vello Vinn Novitskova Simon She is interested in stretching outTaavi Suisalu se développeKatja rapidement et est Guan Xiao Laura Põld Anni Puolakka Norman Orro Wald-Lasowski the boundaries of what we can see hautement manipulative. Le travail Joey Holder Riis Kristina Õllek Sol Archer and use as anNicholas image and a space, and Jaakko d’Õllek s’adapte souvent au lieu, Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu especially now in the age of rapidly analysant le décor et le format de Norman developing Orro Wald-Lasowski Xiao Laura Põld Anni Puolakka and highly manipulativeGuanl’exposition. Kristina Õllek Sol Archer Nicholas Riis and Jaakko technology. Õllek’s work is often Joey Holder Vello Vinn Suisalu the Katja Novitskova Simon Pallasvuo site-sensitiveTaavi and analyses Elle est titulaire d’un master en Laura Põld Puolakka Norman Orro Wald-Lasowski location andAnni the format of exhibition photographie de l’Académie des arts Guan Xiao Nicholasmaking. Riis Jaakko Õllek Joey Holder Õllek and holds a master’s Kristina estonienne, et a Sol reçuArcher deux fois le Simon Pallasvuo VelloYoung Vinn Artist Prize, Taavien Suisalu Katja Novitskova degree in photography from the 2013 et 2016. Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka Norman Orro Estonian Academy of Arts and has Sol Archer Joey Holder Nicholas Jaakko twice been awarded the Young Artist Nautilus Nouvelle Kristina Õllek SonRiis installation and Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn Prize in 2013 and 2016. Ère (2018) s’inspire du roman 20 Anni Puolakka Norman Orro Wald-Lasowski Xiao(1870) Laura Põld 000 lieues sousGuan les mers and Jaakko KristinaNautilus Õllek New Sol Archer Holder de Jules Verne, Joey auteur né à Nantes, Nicholas Riis Õllek’s installation Pallasvuo Vello Vinn Taavi Suisalu Katja Simon Era (2018) draws from Nantes-born et le juxtapose aux Novitskova actuelles Guan Xiao Laura Põld Anni Puolakka Orro Wald-Lasowski writer Jules Verne’s fiction 20,000 problématiquesNorman de la prospection Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 112 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and Jaakkominière en Kristina Õllek Joey Holder eaux profondes. DansSol le Archer Remotely operated, or perhaps Nicholas Riis Pallasvuo roman de Verne, Vello Vinn Taavi Suisalu Katja Novitskova le capitaine Nemo without any human assistance, the Simon Guan Xiaoconfirmait Laura Põld Anni Puolakka Norman Orro appearWald-Lasowski au professeur Aronnax seashell and the rockets to Joey Holder Nicholas Riis and Jaakko Kristina Õllek qu’il y avait des métaux précieux have predetermined knowledge ofSol Archer Katja Novitskova Vello the Vinn au fond de laSimon mer, et qu’il était Pallasvuo their way through open skies.Taavi Suisalu Norman Orro Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka tout à fait envisageable d’en faire Kristina Õllek Sol Archer Joey Holder Riis l’extraction. Aujourd’hui, ce scénario Vinn is bestNicholas known for his works and Jaakko Vello Vinns’est avéré, Taavi ces Suisalu rares mineraisKatja Novitskova executed from Simon the 1960s to the Pallasvuo Laura Põldmarins étant Annidevenus Puolakka Norman Orro Wald-Lasowski Guan Xiao essentiels 1980s of which Rockets is a Nicholas Riis and Jaakko Kristina Õllek SolHis Archer pour satisfaire la demande accrue great example. futuristic and Joey Holder Simon en applications Pallasvuo Taavi Suisalu brought Katja Novitskova high-tech et en Vello Vinn otherworldly landscapes Wald-Lasowski Guan Xiao renouvelable. Laura Põld Anni Puolakka Norman Orro technologies à énergie Estonian printmaking to the world’s Sol ArcherDans ses œuvres, Joey Holder Nicholas Riis and Jaakko Kristina Õllek Õllek s’intéresse attention and has seen him awarded Taavi Suisalu Katja Novitskova Simonnumerous international Pallasvuo awards. Vello Vinn à la façon dont cette situation Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld discutable est représentée. En and Jaakkoutilisant le Kristina Joey Nicholas Riis mêmeÕllek titre que le Sol Archer Vello Vinn (né en Holder 1939) est un artiste Pallasvuo vaisseau controversé Vello Vinn de la première Taavi Suisalu Katja Novitskova estonien, surtout célèbre en tant queSimon Guan Xiaoopération minière Laura Põld Anni Puolakka Norman Orro Wald-Lasowski en haute mer, graveur. Vinn a étudié la philologie Joey Holder Nicholas Riis and Jaakko Kristina Õllek censée commencer en 2019, Kristina anglaise à l’Université de Tartu, etSol Archer Katja Novitskova Simon Pallasvuo Vello estonienne Vinn Õllek crée une œuvre qui fait usage l’art à l’Académie desTaavi Suisalu Norman Orro Wald-Lasowski Laura Põld Anni Puolakka de matériaux liés à la rechercheGuan Xiao arts, où il a obtenu un diplôme en Kristina Õllek Sol Archer Joey Holder Nicholas Riis scientifique en eaux profondes et à verrerie. En 1968, il a rapidement and Jaakko Vello Vinnl’extraction Taavi Suisalu Katja Novitskova Simon minière, et développe abandonné le verre pour la gravure,Pallasvuo Laura Põldun « fondAnni Puolakka Norman Orro Wald-Lasowski marin » avec des éléments se spécialisant dans l’eau-forte et Guan Xiao Nicholas Riis Kristina Õllek SolDans Archer artificiels. and Jaakko la taille-douce. les années Joey Holder Simon Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova 1990, il a participé au mouvement Wald-Lasowski Guan Xiao Laura Põld Puolakka VELLO VINN surréaliste Anni estonien « PARA ». Norman Orro Sol ArcherVello VinnJoey Holder Nicholas Riis and Jaakko Kristina Õllek (b.1939) is an Estonian Taavi Suisalu Katja mainly Novitskova Pallasvuo visual artist, known as a SimonSa gravure Fusées (1971) dépeint Vello Vinn Anni Puolakka Orro Wald-Lasowski Guan Xiao prominentNorman Estonian printmaker. Vinn un large coquillage qui flotte au Laura Põld and Jaakkostudied English Kristinaphilology Õllek Sol Archer Joey Holder Nicholas Riis at the centre de l’image, accompagné d’un Pallasvuo University of Vello Vinn Taavi Suisalu Novitskova Tartu, and art at the groupe deKatja fusées qui s’élèvent sur laSimon Guan XiaoEstonian Academy Laura Põld Anni Puolakka Norman Orro Wald-Lasowski ligne d’horizon. Riche en détails, la of Arts, where he Joey Holder Riisof glass art. and Jaakko Kristina Õllek Sol Archer composition demande au spectateur graduatedNicholas in the field Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu de regarder de près, et le motif In 1968 he promptly ditched glass Norman Orro Guan Xiao Laura sa Põld for print Wald-Lasowski and his specialty became répétitif manipule perception.Anni Puolakka Kristina Õllek Sol ArcherIn the 1990s JoeyheHolder Nicholas and Jaakko Dirigés à distance, ouRiis peut-être sans etching and intaglio. Vello Vinnparticipated Taavi Katja Novitskova Simonle coquillage Pallasvuo assistance humaine, in Suisalu the Estonian ‘PARA’Laura PõldSurrealistAnni Puolakka Norman Orro Wald-Lasowski et les fusées semblent avoir une Guan Xiao movement. Nicholas Riis and Jaakko Kristina Õllek Archer Joey Holder connaissanceSol prédéterminée de leur Simon Vinn’s etching Pallasvuo Vello Vinn Taavi Katja Novitskova Rockets (1971) depicts trajet à travers lesSuisalu cieux. Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka Norman Orro a large sea shell floating in the Sol Archercentre of the Joey Holderaccompanied Nicholas Riis and connu Jaakkopour ses Kristina Õllek picture, Vinn est surtout Taavi Suisalu Katja Novitskova Simon Pallasvuo by a group of rockets ascending on œuvres réalisées dans les années Vello Vinn Anni Puolakka Norman Orroin detail, Wald-Lasowski Laura Põld the horizon line. Rich the 1960 à 1980,Guan dont Xiao Fusées est un bon and Jaakkocomposition Kristina Joey HolderfuturistesNicholas Riis asksÕllek the viewer to Sol lookArcher exemple. Ses paysages Pallasvuo closely, andVello Vinn Taavi Suisalu Novitskova the repetitive pattern évoquant Katja un autre monde ont attiré Simon Guan Xiaomanipulates Laura Põld Anni Puolakka Norman Orro estonienne, Wald-Lasowski the viewer’s perception. l’attention sur la gravure Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 113 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and Jaakko Kristina Õllek Sol Archer Joey HolderPõld Nicholas Riis et lui ont valu de nombreuses pratique pluridisciplinaire, Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova récompenses internationales. synthétise l’espace d’exposition avec Simon Guan Xiao Laura Põld Anni Puolakka Norman Orro des éléments théâtraux sensibles Wald-Lasowski Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer LAURA PÕLD aux matériaux. Son œuvre se Katja Novitskova Simon Vello Vinn Laura Põld (b.1984) is an Estonian Pallasvuo compose de peinture, de collage, Taavi Suisalu Norman visual Orro artist Wald-Lasowski Guande Xiao Laura Põld who works mainly céramique, d’installations, mais Anni Puolakka Kristina Õllek SolofArcher Joey Holder Nicholas Riis et and Jaakko with the poetics ‘place’. In également de vidéo, de texte, Vello Vinn Taavipractice Suisalu Põld Katja Novitskova Simon Pallasvuo her multifaceted de performances, tous se mêlant Laura Põld Anni Puolakkaspace Norman Orro Wald-Lasowski Guan Xiao synthesizes the exhibition dans les environnements qu’elle Nicholaswith Riismaterial-sensitive and Jaakko Õllek Archerqu’elle Joey Holder theatrical Kristina crée et dans les Sol paysages Simon Pallasvuo Velloconçoit. Vinn Son travail Taavi poétique Suisalu Katja Novitskova elements. Põlds oeuvre consists Wald-Lasowski Xiaoceramics, Lauraentrelace Põld Anni fondés Puolakka of painting andGuan collage, des lieux sur des Norman Orro Sol Archer Joey Holder Nicholas Riis and Jaakko installation, but also video, text contextes culturels, historiques et Kristina Õllek Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn and performance, which combine autobiographiques. Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld in her created environments and and Jaakko KristinaHer Õllek Joey Holder Nicholas Riis staged landscapes. poetic workSol Archer Põld a obtenu une licence de Pallasvuo Vello Vinnon cultural, Taavi Suisalu Katja Novitskova Simon crosses locations based céramique à l’Académie estonienne Guan Xiao Põld Anni Puolakka Normande Orro historical and Laura autobiographical des arts, et un master peinture Wald-Lasowski Joey Holder Nicholas Riis and Jaakko Kristina Sol Archer contexts. à l’Université de Tartu. Õllek Elle a Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu participé à plusieurs expositions Norman Põld Orroreceived Wald-Lasowski Xiao Laura Põld Anni Puolakka her BA in ceramics Guaninternationales, et à diverses Kristina Õllek Sol Archer Joey Holder Nicholas Riis and Jaakko from the Estonian Academy of résidences d’artiste, au Japon, en Vello Vinn Katja Novitskova Simon Pallasvuo Arts and has Taavi a MA Suisalu in Painting from Iran et en Autriche, entre autres. Laura Põld Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao the University of Tartu. She has Nicholasparticipated Riis Jaakko Õllek Archer inand several exhibitionsKristina Dans sa dernièreSol œuvre in situ, Põld Joey Holder Simon Vinn Suisalu internationally Pallasvuo and has undertaken Vellose fonde sur lesTaavi riches couches Katja Novitskova Wald-Lasowski Guan in Xiao Põld Anni Puolakka Norman Orro various residencies Japan, Iran Lauraarchitecturales de l’ancienne Sol Archer Joey Holder Nicholas Riis and Jaakko Kristina Õllek and Austria, among others. biscuiterie LU. L’esthétique Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn particulière du bâtiment et de ses Anni Puolakka Norman Orro Xiao Laura Põld In a new site-specific work, Põld Wald-Lasowski murs de briques Guan rouges se mêle à and Jaakko Kristina Õllek Sol Archer Joey Holder Nicholas Riis draws from the rich architectural d’anciens masques de guerriers, à Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova Simon layers of the former LU biscuit des outils et amulettes, ainsi qu’à Guan Xiao Laura Põld Anni Puolakka Norman Orro Wald-Lasowski factory. The unique aesthetics of the de la poterie fossilisée à l’usage Joey Holder Riiswalls are and Jaakko Kristina Õllek Sol Archer building and Nicholas its red brick inconnu. En travaillant avec des Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu fused with ancient warrior masks, matériaux tels que l’argile, le Norman tools Orro and charms Wald-Lasowski Xiao le bois, leLaura Põld as well as fossil- Guanroseau, cuir et la laine, Anni Puolakka Kristina Õllek Solunknown Archer uses. Joey Holder Nicholas Riis like pottery with Põld crée un territoire qui marie les and Jaakko Vello Vinn Suisalu Katja Novitskova Simon et du Pallasvuo Working withTaavi materials including dichotomies de l’archaïque Laura Põld Anni Puolakka Norman Orro Wald-Lasowski clay, reeds, wood, leather and wool, contemporain, du privé et du public, Guan Xiao NicholasPõld Riiscreates aand Jaakko Sol Joey Holder zone that blends Kristina deÕllek la guerre et de la Archer paix. Simon Pallasvuo Taavi Suisalu Katja Novitskova the dichotomies of the archaic and Vello Vinn Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka Norman Orro contemporary, domestic and public, NICHOLAS RIIS Sol Archer Joey Holder Nicholas Riis Riis (b.1987) and Jaakko Kristina Õllek and war and peace. Nicholas was born Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn in Denmark, grew up in Norway Anni Puolakka Norman Orroest une Wald-Lasowski Guan Laura Põld Laura Põld (née en 1984) and currently lives andXiao works in and Jaakko Kristinaestonienne Õllek Sol Archer Holderfrom Nicholas Riis artiste plasticienne Amsterdam. HeJoey graduated Pallasvuo Vello Vinn Katja Novitskova Simon qui travaille principalement sur Taavi Suisalu the Gerrit Rietveld Academie, Guan Xiao Norman la poétique duLaura « lieuPõld ». Dans sa Anni Puolakka Amsterdam in 2013, andOrro gained hisWald-Lasowski Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 114 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and Jaakkomaster’s degree KristinainÕllek Sol Archer Joey Holder Fine Arts from naturel, en quête d’une alliance Nicholas Riis Pallasvuo Piet Zwart Vello Vinn Taavi Suisalu Katja Novitskova Simon Institute, Rotterdam in parfaite entre les deux. En se servant Guan Xiao2017. Riis has Laura Põld Anni Puolakka Norman Orro Wald-Lasowski participated in several des bizarreries du matériau et de la Joey Holder Nicholas Riis and Jaakko Kristina Õllek international group exhibitions forme, il permet une intersection Sol de Archer Katja Novitskova Simon Amsterdam;Pallasvuo VelloetVinn Taavi Suisalu including: P/////AKT, l’aspect pratique de l’étrangeté. Norman Orro Wald-Lasowski Laura Põld sculptural, Anni Puolakka Plato Ostrava, Czech Republic; Guan Xiao Le résultat est un objet Kristina Õllek Archer Joey Holder Nicholas and Jaakko Cinnamon Sol Gallery, Rotterdam; Exile bien dessiné, qui est Riis à la fois Vello VinnGallery and Taavi Suisalu Katja Novitskova SimonDes matériauxPallasvuo Future Gallery, Berlin; attirant et alarmant. Laura Põldand the Lithuanian Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Pavilion at the prélevés, tels que les perles, la laine Nicholas Riis and Jaakko in 2015. Kristina Õllek Sol Archer Joey Holder 56th Venice Biennale de mouton tressée, des protections Simon Pallasvuo Vello Vinn Suisalu Katja Novitskova de sport et Taavi des modificateurs Wald-Lasowski Guan Xiaobalance between Laura Põld Anni Puolakka Orro Nicholas Riis’ works corporels créent un réseau denseNorman et Sol Archerhuman synthetics Joey Holder Nicholas Riis and Jaakko Kristina Õllek and the natural crédible d’éléments où rien ne fait Taavi Suisalu Katja Novitskova Simonprécisément référence Pallasvuo à rien. Ce sont Vello Vinn world, seeking the perfect coalition Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld between the two. Drawing from the des assemblages hybrides de haute and Jaakkoqueerness Kristina Õllekand form,Sol Archer Joey Holder Nicholas Riis of material et basse technologie, du synthétique Pallasvuo he allows practicality Vello Vinn to intersect Taavi Suisalu KatjaduNovitskova Simon et du naturel, décoratif et du Guan Xiaowith uncanniness. Laura Põld Anni Wald-Lasowski The outcome is Puolakka fonctionnel.Norman Orro Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer a sculptural, well-designed object Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu that is both alluring and alarming. SIMON WALD-LASOWSKI Norman Orro Wald-Lasowski Guan Xiao Laura Põld(b.1980) Anni Puolakka Abstracted materials such as pearls, Simon Wald-Lasowski Kristina Õllek Sol Archer Joey Holder Nicholas Riis and Jaakko braided sheep wool, sports armour is fascinated by the obsessive Vello Vinnand body Taavi Suisalu Katja Novitskova Simon Pallasvuo modifiers create a dense acquiring and accumulating of goods Laura Põldand believable Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao network of elements that consumer society encourages. Nicholas Riis and Jaakko Kristina Sol Archer where nothing refers to anything too Õllek By taking seemingly worthless Joey Holder Simon specifically.Pallasvuo Vello Vinn Taavi Suisalu They are interbreeding common objects and glorifyingKatja theirNovitskova Wald-Lasowski Guan Xiao Laura Põld Puolakka Norman Orro assemblages of high-tech and lowtriviality, heAnni highlights the absurd Sol Archertech, of synthetics Joey Holder Riis andand Jaakko and nature, Nicholas of in the everyday comments Kristina Õllek Taavi Suisalu Katja Novitskova Simonon issues concerning Pallasvuo decor and utility. the human Vello Vinn Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao condition. Wald-Lasowski is basedLaura Põld and JaakkoNicholas Kristina Õllek Sol Archer Joey Holder Riis Riis (né en 1987) est né in Amsterdam and was a residentNicholas at Pallasvuo au Danemark, Vello Vinn en Norvège, Taavi Suisalu Katja Novitskova a grandi the post-academic institute Jan vanSimon Guan Xiaoet vit et travaille Laura Põld Anni Puolakka Norman Orro Wald-Lasowski actuellement Eyck, Maastricht in 2017. Joey Holder Nicholas Kristina Õllek Sol Archer à Amsterdam. Il estRiis diplômé and Jaakko Katja Novitskova Simon Pallasvuo Vello Vinn Taavi “I think there’s very little likelihood Suisalu de l’Académie Gerrit Rietveld, Norman Orro Wald-Lasowski Guan Xiao Põld that oysters, Laura mussels and clams Anni Puolakka Amsterdam (2013), et a obtenu un Kristina Õllek Sol Archer à l’Institut Joey Holder Nicholas Riisso it’s and Jaakko have any consciousness master en beaux-arts Vello VinnPiet Zwart, Taavi Suisalu en 2017. Katja Novitskova Simon defendable to eat them” (2017) is Pallasvuo Rotterdam, Riis Laura Põlda participé Anni Puolakkaexpositions Norman Orro Wald-Lasowski Wald-Lasowski’s 29-figure spatialGuan Xiao à plusieurs Nicholas Riis and Jaakko Sol Archer Joey Holder installation. It was born of an groupées internationales, dontKristina : P///// Õllek Simon AKT, Amsterdam, Pallasvuo Taavi Katja Novitskova encounter he hadSuisalu with a side table Plato Ostrava,Vello Vinn Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka galerie Cinnamon, Rotterdam, galerie in the shape of a book-burdened Norman Orro Sol ArcherExile, Berlin, Joey Holder Nicholas Riis and Jaakko primate being sold at a curiosityKristina Õllek Future Gallery Berlin, Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn shop. After having a mould created et le Pavillon lituanien de la 56e Anni Puolakka Norman Guancall Xiao“Chimpanzee Laura Põld of what we might Biennale de VeniseOrro en 2015. Wald-Lasowski and Jaakko Kristina Õllek Sol Archer Joey Holder Nicholas Riis Zero”, Wald-Lasowski made replicas, Pallasvuo Ses œuvresVello Vinn entre le Taavi Suisalu Katja Novitskova giving each its own gender-bending,Simon oscillent Guan XiaosynthétiqueLaura Põldet le monde Anni Puolakka Norman Orro Wald-Lasowski class-crossing characteristics. humain Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 115 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and Jaakko Kristina Õllek Sol Archer Joeyde Holder Nicholas Riis plus grand nombre souches Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova Simon Together, the chimpanzees vitales que notre conception Guan Xiao Laura Põld Anni Puolakka Norman Wald-Lasowski concretize speculative visions that actuelle des animaux etOrro de la Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer encourage the existence of far nature n’en autorise. Comme des Katja Novitskova Simon Vello Vinn Taavi Suisalu more breeds of life than our currentPallasvuo molécules d’ADN conservées Norman understanding Orro Wald-Lasowski Guandans Xiaoun laboratoire Laura Anni Puolakka of animals and nature en Põld vue d’une Kristina Õllek Archer Joey Holder Nicholas Riis les and Jaakko allows for. LikeSol DNA molecules future extraction de données, Vello Vinn Taavi Suisalu Simon stored in a lab for future data Katja Novitskova chimpanzés dans leur environnement Pallasvuo Laura Põld Anni Puolakka in their Norman Orro peuvent Wald-Lasowski Guan Xiao extraction, the chimpanzees artificiel évoluer vers de Nicholasassembled Riis and Jaakkocan evolve Kristina Õllek formes Sol Archer environment nouvelles s’ils sont soumis à Joey Holder Simon Vinn Taavi Suisalu Katja Novitskova into new formsPallasvuo if exposed to more Vellodavantage d’ingénierie. Wald-Lasowski Laura Põld Anni Puolakka Norman Orro engineering. Guan Xiao Sol Archer Joey Holder Nicholas Riis and Jaakko Kristina Õllek SOL ARCHER Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn Simon Wald-Lasowski (né en Sol Archer (b.1983, Japan), lives Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld 1980) est fasciné par l’acquisition and works in the Netherlands. Sol and Jaakko Kristina Õllek Holderimage and Nicholas Riis et l’accumulation compulsives de Sol Archer works primarilyJoey in moving Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova Simon produits encouragées par la société installation, working in the spaces Guan Xiao LauraEn Põld Norman Orro Wald-Lasowski de consommation. prenant desAnni Puolakka between observation and production Joey Holder Nicholassans Riis valeur and Jaakko Kristina Õllek Sol Archer objets apparemment of moving image realities. Sol is Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu et en glorifiant leur trivialité, il interested in the critical potential Norman souligne Orro Wald-Lasowski Laura Anni Puolakka l’absurdité du quotidien, GuanofXiao science-fiction as aPõld device Kristina Õllek Sol Archer Joey Holder Nicholas Riis and Jaakko et commente les problèmes de la for investigating the present and Vello Vinn Taavi Suisalu Katja Novitskova Simon Pallasvuo condition humaine. Wald-Lasowski historical spaces and narratives of Laura Põld Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao habite à Amsterdam, et a été résident the observable. Nicholasde Riis and Jaakko Sol Archer Joey Holder l’institut post-universitaire JanKristina Õllek Simon Pallasvuo VelloSol Vinn Taavi Suisalu Katja Novitskova Van Eyck à Maastricht en 2017. was a researcher at the Jan van Wald-Lasowski Guan Xiao LauraEyck PõldAcademie, Anni Puolakkaand holds Norman Orro Maastricht Sol Archer Joey Nicholas Riis and Zwart Jaakko a MA from the Piet Instituut, Kristina Õllek « J’estime très peuHolder probable que les Taavi Suisalu Novitskova Pallasvuo Vello Vinn Rotterdam. He has participated in huîtres, les Katja moules et les clams aient Simon Anni Puolakka Norman Orro Guanexhibitions Xiao several international and Laura Põld la moindre conscience, donc les Wald-Lasowski and Jaakko Õllek Joey on Holder is currently working a long-term Nicholas Riis manger n’estKristina pas répréhensible » Sol Archer Pallasvuo Vello Katja Northern Novitskova Simon project in Belfast, Ireland. (2017) est le titre deVinn l’installation Taavi Suisalu Guan Xiao Laura Põld Anni Puolakka Norman Orro Wald-Lasowski spatiale en 29 figures de WaldJoey Holder Nicholas and Jaakko Õllek Sol Archer Lasowski. Elle est née Riis d’une Rotterdam has Kristina the largest port Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu rencontre avec une table d’appoint in Europe, carrying five hundred Norman représentant Orro Wald-Lasowski Xiao tonnes ofLaura Põld cargo per year, Anni Puolakka un primate croulant Guanmillion Kristina Õllek Archer Nicholas Riisof only and Jaakko while employing the labour sous les livres,Sol vendue dans une Joey Holder Vello Vinn Taavi Suisalu Katja Novitskova Simon Pallasvuo 2400 workers. In the delta of the boutique de curiosités. Après avoir Laura Põld Anni Puolakka Norman Orro Wald-Lasowski fait faire un moule de ce qu’on Mass river, a huge area of new land Guan Xiao Nicholaspourrait Riis andleJaakko Sol Archer appeler « chimpanzé Kristina is Õllek under construction to house fully Joey Holder Simon Pallasvuo Vinn Taavi Suisalu terminals. At the heart Katja Novitskova zéro », Wald-Lasowski a produit desVelloautomated Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka of the Maasvlakte is Futureland, a Norman Orro répliques, en donnant à chacune Sol Archer Joey Holder Riisvisitor centre, and Jaakko tourist coordinating Kristina Õllek ses propres caractéristiques méta-Nicholas Taavi Suisalu Katja Novitskova Simon Pallasvuo zones of leisure and spectatorship Vello Vinn genrées et transcatégorielles. Anni Puolakka Norman Orro Wald-Lasowski Guanto Xiao Laura Põld for observing bodies witness and Jaakko Kristina Õllek Sol Archer Joey Holder of Nicholas Riis the impenetrable spectacle Tous ensemble, ces chimpanzés Pallasvuo Vello Vinn spéculatives Taavi Suisalu Simon infrastructure.Katja Novitskova concrétisent des visions Guan Xiao Põld d’un bien Anni Puolakka Norman Orro Wald-Lasowski encourageant Laura l’existence Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 116 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld and JaakkoDispatches Kristina Õllek Sol Archer Joey Holder construit Nicholas Riis from Futureland (2015) inhumaine et du spectacle Pallasvuo is a situational Vellostudy Vinn of the inhuman Taavi Suisalu Katja Novitskova des sites industriels internationaux, Simon Guan Xiaoscale and constructed Laura Põld spectacle Anni Norman Orro Wald-Lasowski ofPuolakka et une représentation théâtrale de Joey Holder Nicholas Riis and Jaakko Kristina Õllek international industrial sites, and the manifestations syndicales contre Sol Archer Katja Novitskova Simon of unionisedPallasvuo Vello Vinn Taavi Suisalu theatrical spectacle eux. Le film déploie une atemporalité Norman Orro Wald-Lasowski Guan Xiao Põld Anni Puolakka demonstration against it. The film orientée versLaura l’avenir et une Kristina Õllek Joey Holder Nicholas Riiscapitaliste and Jaakko operates inSol theArcher future orientated esthétique de futurisme Vello Vinna-temporality Taaviand Suisalu Katja Novitskova science fiction influencée par Simon la science-fiction. Pallasvuo Laura Põldinfluenced Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao aesthetic of capitalist Nicholas Riis Kristina Õllek Sol Archer Joey Holder futurism. and Jaakko TAAVI SUISALU Simon Pallasvuo Vello Vinn Taavi Suisalu Katja Novitskova Taavi Suisalu (b.1982) is an Estonian Wald-Lasowski Laura Anni Sol Archer Guan (né enXiao 1983 au Japon) vit Põld artist working inPuolakka the contexts of Norman Orro Sol Archeret travailleJoey Holder Nicholas Riis and Jaakko Kristina Õllek aux Pays-Bas. Il travaille technology, sound and performance, Taavi Suisalu Katja Novitskova Pallasvuo Vello Vinn principalement sur des images Simonmixing traditional and contemporary Anni Puolakka Norman Orro Wald-Lasowski Guan Xiao Laura Põld animées et des installations, dans sensibilities and activating and Jaakkol’espace entre Kristina Õllek Joey Holder Nicholas Riis l’observation et laSol Archer peripheral spaces for imaginative Pallasvuo productionVello Vinn animées. Taavi Katja de réalités Sol Suisalu encounters. HisNovitskova practice is informedSimon Guan Xiaos’intéresse Laura Põld critique Anni Norman Orro Wald-Lasowski au potentiel de Puolakka by phenomena of contemporary Joey Holder Nicholasen Riis and Jaakko Õllekto and uses Sol Archer la science-fiction tant qu’outil society andKristina its relations Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu pour étudier le présent, aux espaces of technologies. Norman Orro Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka historiques, et aux récits sur ce qui Kristina Õllek Sol Archer Joey Holder Nicholas Riis and Jaakko est observable. Suisalu holds a BA in media design Vello Vinn Taavi Suisalu Katja Novitskova from Tartu Art Simon College and an MAPallasvuo Laura PõldSol a étéAnni Puolakka Norman Orro Wald-Lasowski chercheur à l’Académie Jan in new media from the Estonian Guan Xiao Nicholas Riis Jaakko et il a une Kristina Õllek Joey Holder van Eyck, àand Maastricht, Academy of Sol Arts.Archer During his studies, Simon maîtrise dePallasvuo Vinn Taavi Suisalu l’Institut Piet Zwart,Vello à he was an exchange student at Katja Novitskova Wald-Lasowski Xiao Laura Põld Anni Puolakka Norman Orro Rotterdam.Guan Il a participé à plusieurs L’École de design Nantes Atlantique Sol Archerexpositions Joey Holder Jaakkoof Art and Kristina Õllek internationales, et Nicholas Riis and Geneva and University Taavi Suisalu Novitskova SimonDesign. He has Pallasvuo Vello Vinn travailleKatja actuellement sur un projet participated in Anni Puolakka Guan Xiao Laura Põld de longueNorman haleine Orro à Belfast. Wald-Lasowski various international art projects and and JaakkoRotterdam Kristina Õllek Sol Archer Joey Holder Nicholas Riis a le plus grand port was awarded the Young Artist Prize Pallasvuo d’Europe, avec Vellocinq Vinn Taavi Suisalu Simon cents millions in 2014. Katja Novitskova Guan Xiaode tonnes de Laura Põld Anni Puolakka Norman Orro Wald-Lasowski fret par an, mais Joey Holder Nicholas de Riisseulementand Jaakko Õllek (2016) Sol Archer LandscapesKristina and Portraits une main-d’œuvre Katja Novitskova Simon Pallasvuo Vello Vinn focuses on the malfunctioning Taavi Suisalu 2400 ouvriers. Dans le delta de la Norman Orro Laura in Põld Anni Puolakka satellites orbiting space, which Mass, unWald-Lasowski terrain gigantesque estGuan en Xiao Kristina Õllek Soldans Archer Joey Holder Nicholas Riis and Jaakko transmit error-anaesthetised signals. construction, le but d’héberger Vello Vinndes terminaux Taavi entièrement Suisalu Katja Novitskova Simon Due to favourable glitches in their Pallasvuo Laura Põldautomatisés. AnniAu Puolakka Norman Orro Wald-Lasowski Guan Xiao systems these machines have cœur du Maasvlakte Nicholas Riis and Jaakko Kristina Õllek Sol Archer Joey Holder sprung back to operational mode se trouve Futureland, un centre Simon touristique Pallasvuo Vello Vinn Taavi Suisalu of anKatja Novitskova broadcasting information qui coordonne des zones Wald-Lasowski Guan Xiao Laura Põld Anni Puolakka Norman Orro unpredictable nature. In this work, de loisir et d’observation permettant Sol Archerd’assister Joey Holder impénétrable Nicholas Riis Jaakko Kristina Õllek Suisalu dealsand simultaneously with au spectacle Taavi Suisalu Katja Novitskova Simon Pallasvuo Vello Vinn cosmic field recording and distance des infrastructures. Anni Puolakka Norman Orro Wald-Lasowski Xiao Laura Põld photography.Guan In 2016 he converted and JaakkoDispatches Kristina Õllek Sol Archer Joey electromagnetic Holder Nicholas Riis the signals from from Futureland Pallasvuo [Depêches Vello Vinn Taavi Katja Novitskova de Futureland] (2015) estSuisalu landscapes to sounds and released Simon Guan Xiaoune étude situationnelle Laura Põld Anni Puolakka Norman Orro Wald-Lasowski them on vinyl: Études in Black. The de l’échelle Joey Holder Nicholas Riis and Jaakko Kristina Õllek Sol Archer 117 Katja Novitskova Simon Pallasvuo Vello Vinn Taavi Suisalu

Contemporary visions PAR-DELÀ ASCENDING FROM landscape from the weather satellite de paysages électromagnétiques, THE LIQUID HORIZON of a changing world L’HORIZON LIQUIDE becomes a portrait, a distant selfie, et les a publiés sur vinyle dans Contemporary visions PAR-DELÀ Visions contemporaines a cosmic reflection which place the Études in Black (2016). On peut of a changing world L’HORIZON LIQUIDE d’un monde en mutation photographer and the portrait of considérer ces images converties PAR-DELÀ Visions ASCENDING FROM himself in the centre, Suisalu being contemporaines comme de lointains selfies, des the smallest unit in the image. reflets cosmiques qui considèrent le L’HORIZON LIQUIDE d’un monde en mutation THE LIQUID HORIZON . photographe et son portrait comme Visions contemporaines ASCENDING FROM Contemporary visions Taavi Suisalu (né en 1982) est un l’unité minimale d’une image centrée d’un monde en mutation THE LIQUID HORIZON of a changing world artiste estonien qui travaille aux sur le photographe. ASCENDING FROM Contemporary visions PAR-DELÀ confluences de la technologie, THE LIQUID HORIZON L’HORIZON LIQUIDE du son et de la performance,of a changing world en mélangeant les sensibilités Contemporary visions PAR-DELÀ Visions contemporaines traditionnelles et contemporaines of a changing world L’HORIZON LIQUIDE d’un monde en mutation et en activant des espaces PAR-DELÀ Visions contemporaines ASCENDING FROM périphériques propices à des L’HORIZON LIQUIDE d’un monde en mutation THE LIQUID HORIZON rencontres imaginatives. Sa s’inspire de phénomènes Visions pratique contemporaines ASCENDING FROM Contemporary visions de la société contemporaine, de d’un monde en mutation THE LIQUID HORIZON of a changing world ses relations à la technologie et de ASCENDING FROM Contemporary visions PAR-DELÀ l’usage qu’elle en fait. THE LIQUID HORIZON of a changing world L’HORIZON LIQUIDE Contemporary visions PAR-DELÀ Visions contemporaines Suisalu a une licence en media design de la Haute école d’art de of a changing world L’HORIZON LIQUIDE d’un monde en mutation Tartu, et un master en nouveaux PAR-DELÀ Visions contemporaines ASCENDING FROM médias de l’Académie des Arts L’HORIZON LIQUIDE d’un monde en mutation THE LIQUID HORIZON estonienne. Pendant ses études, il a Visions participé contemporaines ASCENDING FROM Contemporary visions à un échange universitaire à l’École design Nantes Atlantique, d’un monde endemutation THE LIQUID HORIZON of a changing world et à la Haute école d’art et Contemporary de design ASCENDING FROM visions PAR-DELÀ Genève. Il a participé à de nombreux THE LIQUID HORIZON of a changing world L’HORIZON LIQUIDE projets artistiques internationaux, Contemporary PAR-DELÀ Visions contemporaines et s’est vu visions décerner le Young Artist of a changing world L’HORIZON LIQUIDE d’un monde en mutation Prize en 2014. PAR-DELÀ Visions contemporaines ASCENDING FROM [Paysages Landscapes and Portraits d’un L’HORIZON LIQUIDE monde en mutation THE LIQUID HORIZON et portraits] (2016) s’intéresse à des Visions satellites contemporaines ASCENDING FROM Contemporary visions défectueux qui, en orbite d’un monde en mutation THE of a changing world dans l’espace, transmettent des LIQUID HORIZON ASCENDING FROM Contemporary visions PAR-DELÀ signaux aussi erronés qu’esthétiques. En raison d’anomalies favorables THE LIQUID HORIZON of a changing world L’HORIZON LIQUIDE dans leur système, ces machines se Contemporary visions PAR-DELÀ Visions contemporaines sont remises en mode opérationnel of a changing L’HORIZON LIQUIDE d’un monde en mutation et diffusentworld des informations de PAR-DELÀ contemporaines ASCENDING FROM nature imprévisible. Dans Visions cette œuvre, Suisalu évoque à la fois monde les L’HORIZON LIQUIDE d’un en mutation THE LIQUID HORIZON enregistrements du champ cosmique Visions contemporaines ASCENDING FROM Contemporary visions et la photographie longue distance. d’un monde en mutation THE LIQUID HORIZON of a changing world Il a converti en sons les signaux ASCENDING FROM Contemporary visions PAR-DELÀ 118 THE LIQUID HORIZON of a changing world L’HORIZON LIQUIDE