MARINA ABRAMOVIC´ / DOUG AITKEN / DARREN ALMOND / ARANDA/LASCH / JULIUS VON BISMARCK / ANGELA BULLOCH / LOS CARPINTEROS / JULIAN CHARRIERE / PHIL COLLINS / CONSTANT DULLAART / OLAFUR ELIASSON / MICHAEL ESPOSITO / OSCAR FIGUEROA / JOHN GERRARD / KAI GREHN / NOEMIE GOUDAL / CARL MICHAEL VON HAUSSWOLFF / ALEX HODA / TREASURE OF LIMA: A BURIED EXHIBITION PIERRE HUYGHE / ANTTI LAITINEN / SHARON LOCKHART / LUCIA MADRIZ / CARSTEN NICOLAI / OLAF NICOLAI / RAYMOND PETTIBON / FINNBOGI PETURSSON / LARI PITTMAN / JON RAFMAN / ANDREW RANVILLE MATTHEW RITCHIE / ED RUSCHA / HANS SCHABUS / CHICKS ON SPEED / DANIEL STEEGMANN / RYAN TRECARTIN / SUZANNE TREISTER / JANAINA TSCHÄPE / CHRIS WATSON / LAWRENCE WEINER / JANA WINDEREN
TREASURE OF LIMA: A BURIED EXHIBITION EDITED BY FRANCESCA VON HABSBURG / MARKUS REYMAN / NADIM SAMMAN WITH CONTRIBUTIONS BY JULIAN CHARRIÈRE / CONSTANT DULLAART / OLAFUR ELIASSON / PEPE MONGE GARCIA / FRANCESCA VON HABSBURG / BRADY MACDONALD / FERNANDO QUIROS BRENES NADIM SAMMAN / ANDREW RANVILLE
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TREASURE OF LIMA: A BURIED EXHIBITION EDITED BY FRANCESCA VON HABSBURG / MARKUS REYMAN / NADIM SAMMAN WITH CONTRIBUTIONS BY JULIAN CHARRIÈRE / CONSTANT DULLAART / OLAFUR ELIASSON / PEPE MONGE GARCIA / FRANCESCA VON HABSBURG / BRADY MACDONALD / FERNANDO QUIROS BRENES NADIM SAMMAN / ANDREW RANVILLE
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CONTENTS 6 PREFACE FRANCESCA VON HABSBURG 16 DESIGNING THE FIND BENJAMIN ARANDA 20 SEEK, DON’T FIND CONSTANT DULLAART 24 A BURIED EXHIBITION NADIM SAMMAN 42 B/LOGBOOK INTERVIEWS 126 JULIAN CHARRIÈRE 132 CONSTANT DULLAART 140 OLAFUR ELIASSON 148 PEPE MONGE GARCIA 155 FERNANDO QUIROS BRENES 161 ANDREW RANVILLE 169 APPENDIX 180 COLOPHON
CONTENTS 6 PREFACE FRANCESCA VON HABSBURG 16 DESIGNING THE FIND BENJAMIN ARANDA 20 SEEK, DON’T FIND CONSTANT DULLAART 24 A BURIED EXHIBITION NADIM SAMMAN 42 B/LOGBOOK INTERVIEWS 126 JULIAN CHARRIÈRE 132 CONSTANT DULLAART 140 OLAFUR ELIASSON 148 PEPE MONGE GARCIA 155 FERNANDO QUIROS BRENES 161 ANDREW RANVILLE 169 APPENDIX 180 COLOPHON
4 TREASURE OF LIMA: A BURIED EXHIBITION
Treasure of Lima: A Buried Exhibition engages the narrative and legal identity of Isla del Coco, contrasting historical legends of buried treasure with the island’s real status a natural treasure worthy of protection. In so doing the project embellishes the ‘treasure island’ imaginary by interrogating models of spectatorship and property rights, while venturing the question ‘How can an exhibition create its own legend?’ An intervention on Isla del Coco – the paradigmatic ‘treasure island’: A vacuum sealed container containing numerous works by forty leading artists, buried at a secret location and left behind. This ‘exhibition architecture’ (a contemporary treasure chest) is a new commission by New York based architects Aranda/Lasch, designed to maintain the physical integrity of works (including works on paper, sculpture, LP vinyls, digital video and audio files) underground or below water to a depth of 6.7 kilometers. The GPS coordinates (or ‘map’) of the exhibition location are logged at the site of burial. These coordinates are then digitally encrypted and the resulting data given a physical form – by the Dutch artist Constant Dullaart and his collaborator, German cryptographer Michael Wege. This physical ‘map’ is sold at auction, encased within a second edition of the chest, with proceeds donated to the marine protection of Isla del Coco under the auspices of the ACMIC (Area de Conservation Marina Isla Del Coco). These funds are earmarked for a sustainable research and conservation project devised by TBA21-Academy in collaboration with our local partner FAICO (La Fundación Amigos de la Isla del Coco). The project benefits scientific research and conservation of the sharks and pelagic species that inhabit the waters surrounding Coco. The buyer will take receipt of the ‘map’ without the decryption key.
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4 TREASURE OF LIMA: A BURIED EXHIBITION
Treasure of Lima: A Buried Exhibition engages the narrative and legal identity of Isla del Coco, contrasting historical legends of buried treasure with the island’s real status a natural treasure worthy of protection. In so doing the project embellishes the ‘treasure island’ imaginary by interrogating models of spectatorship and property rights, while venturing the question ‘How can an exhibition create its own legend?’ An intervention on Isla del Coco – the paradigmatic ‘treasure island’: A vacuum sealed container containing numerous works by forty leading artists, buried at a secret location and left behind. This ‘exhibition architecture’ (a contemporary treasure chest) is a new commission by New York based architects Aranda/Lasch, designed to maintain the physical integrity of works (including works on paper, sculpture, LP vinyls, digital video and audio files) underground or below water to a depth of 6.7 kilometers. The GPS coordinates (or ‘map’) of the exhibition location are logged at the site of burial. These coordinates are then digitally encrypted and the resulting data given a physical form – by the Dutch artist Constant Dullaart and his collaborator, German cryptographer Michael Wege. This physical ‘map’ is sold at auction, encased within a second edition of the chest, with proceeds donated to the marine protection of Isla del Coco under the auspices of the ACMIC (Area de Conservation Marina Isla Del Coco). These funds are earmarked for a sustainable research and conservation project devised by TBA21-Academy in collaboration with our local partner FAICO (La Fundación Amigos de la Isla del Coco). The project benefits scientific research and conservation of the sharks and pelagic species that inhabit the waters surrounding Coco. The buyer will take receipt of the ‘map’ without the decryption key.
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6
Chest and Map, 2014
6 PREFACE FRANCESCA VON HABSBURG
6
Chest and Map, 2014
6 PREFACE FRANCESCA VON HABSBURG
Vacuum testing of Chest in Vienna
The TBA21 Academy is an itinerant platform for the production of new models of art informed by nature, ecology, the oceans, and the human impact on all of the above. Its projects are cause-driven, if you like, but to communicate the issues one has to be really creative. The Academy is an integral part of Thyssen-Bornemisza Art Contemporary, but it gives me a vital chance to think beyond collecting and organizing exhibitions. For the next few years we will focus on the Pacific region, and this project Treasure of Lima is a great beginning to a new series of exceptional projects that lie ahead. Together with the director of the Academy, Markus Reymann, and various guest curators and instigators of fine ideas, we have developed it as a constellation of projects situated in remote locations. I invite numerous friends and colleagues from a myriad of different disciplines to interact with these locations in a collaborative effort to generate support and understanding of the importance of our oceans to the very survival of our planet, as well as of that of the communities that live off its generous but rapidly depleting bounty. Tourism and commercial fishing are the two main industries that occupy these territories and thus are directly implicated in, and in some cases largely responsible for, their eventual demise. When Nadim Samman, the curator of Treasure of Lima, our buried exhibition, told me about the history of Cocos Island, or Isla del Coco, as a place where some of the greatest of all pirate treasures are reputed to be buried, I immediately saw the opportunity to create art mythology. When he said, “Let’s bury a treasure,” I never looked back—the idea grew and grew. Nadim’s angle was original: the possibility of merging myths, histories, ecologies, geographies, and causes was certainly a direction that I wanted to take. The project represented an extraordinary opportunity to take art out of the box, out of the white cube, and into a dimension where I felt we could not only make a difference to the location in a very real and pragmatic way but also shake up all the rather tried-and-tested models of the art world. The Treasure of Lima is way beyond site-specific: it lives on for eternity and will most likely never be discovered. And if it is, it can’t legally be removed from the island. The artworks will be forever lost to the ever-changing, inhospitable landscape of Cocos. 8
9
Vacuum testing of Chest in Vienna
The TBA21 Academy is an itinerant platform for the production of new models of art informed by nature, ecology, the oceans, and the human impact on all of the above. Its projects are cause-driven, if you like, but to communicate the issues one has to be really creative. The Academy is an integral part of Thyssen-Bornemisza Art Contemporary, but it gives me a vital chance to think beyond collecting and organizing exhibitions. For the next few years we will focus on the Pacific region, and this project Treasure of Lima is a great beginning to a new series of exceptional projects that lie ahead. Together with the director of the Academy, Markus Reymann, and various guest curators and instigators of fine ideas, we have developed it as a constellation of projects situated in remote locations. I invite numerous friends and colleagues from a myriad of different disciplines to interact with these locations in a collaborative effort to generate support and understanding of the importance of our oceans to the very survival of our planet, as well as of that of the communities that live off its generous but rapidly depleting bounty. Tourism and commercial fishing are the two main industries that occupy these territories and thus are directly implicated in, and in some cases largely responsible for, their eventual demise. When Nadim Samman, the curator of Treasure of Lima, our buried exhibition, told me about the history of Cocos Island, or Isla del Coco, as a place where some of the greatest of all pirate treasures are reputed to be buried, I immediately saw the opportunity to create art mythology. When he said, “Let’s bury a treasure,” I never looked back—the idea grew and grew. Nadim’s angle was original: the possibility of merging myths, histories, ecologies, geographies, and causes was certainly a direction that I wanted to take. The project represented an extraordinary opportunity to take art out of the box, out of the white cube, and into a dimension where I felt we could not only make a difference to the location in a very real and pragmatic way but also shake up all the rather tried-and-tested models of the art world. The Treasure of Lima is way beyond site-specific: it lives on for eternity and will most likely never be discovered. And if it is, it can’t legally be removed from the island. The artworks will be forever lost to the ever-changing, inhospitable landscape of Cocos. 8
9
The Dardanella
It was inspiring to receive such enthusiastic responses from the numerous artists whom we asked to contribute unique works that would be placed in a vacuum-packed globe that can withstand immense pressure when sealed and subsequently buried on a deserted island—within the context of an exhibition that we hope will never be seen. It took two trips to Cocos, plenty of research, swimming with large predator sharks, and twelve brave and determined people seven hours of concerted Fitzcarraldo-esque effort to ensure that it would never be found, at least not by accident! Their enthusiasm was met by our determination to ensure that no one would ever stumble on this treasure. The encoded GPS coordinates of the site are embedded in a unique 3-D printed scroll by the artist Constant Dullaart, who collaborated with a leading German security analyst to apply state-ofthe art encryption. The scroll contains more potential keys than there are molecules in the universe, thus rendering it even more unlikely that anyone can decode it. One would need the computing power of a massive global corporation, a small handful of highly experienced and determined cryptographers, and several patient years to break the code. Like all the other elusive treasures buried on Cocos Island over the last two hundred years, ours will be nearly impossible to find. We chose the historical Treasure of Lima as a touchstone for our project because it is, according to many accounts, by far the largest hoard ever buried on the island—and it has never been retrieved. It is an obsession for all treasure hunters. Legends of it abound, and they have inspired hundreds of stories, most famously Treasure Island by Robert Louis Stevenson. But the most often repeated one is this: In 1820 Lima was on the edge of revolt, with the army of José de San Martín approaching. As a preventative measure, Viceroy José de la Serna decided to transport the city’s fabulous wealth to Mexico for safekeeping. Captain Thompson was about to take his merchant ship out of harms way when the Viceroy and some of Lima’s wealthier citizens prevailed on him to protect and hold their wealth. An original inventory showed that the original Treasure of Lima included 113 gold religious statues, one a life-size Virgin and child, 200 chests of jewels, 273 swords
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The Dardanella
It was inspiring to receive such enthusiastic responses from the numerous artists whom we asked to contribute unique works that would be placed in a vacuum-packed globe that can withstand immense pressure when sealed and subsequently buried on a deserted island—within the context of an exhibition that we hope will never be seen. It took two trips to Cocos, plenty of research, swimming with large predator sharks, and twelve brave and determined people seven hours of concerted Fitzcarraldo-esque effort to ensure that it would never be found, at least not by accident! Their enthusiasm was met by our determination to ensure that no one would ever stumble on this treasure. The encoded GPS coordinates of the site are embedded in a unique 3-D printed scroll by the artist Constant Dullaart, who collaborated with a leading German security analyst to apply state-ofthe art encryption. The scroll contains more potential keys than there are molecules in the universe, thus rendering it even more unlikely that anyone can decode it. One would need the computing power of a massive global corporation, a small handful of highly experienced and determined cryptographers, and several patient years to break the code. Like all the other elusive treasures buried on Cocos Island over the last two hundred years, ours will be nearly impossible to find. We chose the historical Treasure of Lima as a touchstone for our project because it is, according to many accounts, by far the largest hoard ever buried on the island—and it has never been retrieved. It is an obsession for all treasure hunters. Legends of it abound, and they have inspired hundreds of stories, most famously Treasure Island by Robert Louis Stevenson. But the most often repeated one is this: In 1820 Lima was on the edge of revolt, with the army of José de San Martín approaching. As a preventative measure, Viceroy José de la Serna decided to transport the city’s fabulous wealth to Mexico for safekeeping. Captain Thompson was about to take his merchant ship out of harms way when the Viceroy and some of Lima’s wealthier citizens prevailed on him to protect and hold their wealth. An original inventory showed that the original Treasure of Lima included 113 gold religious statues, one a life-size Virgin and child, 200 chests of jewels, 273 swords
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with jeweled hilts, 1,000 diamonds, solid gold crowns, 150 chalices, and hundreds of gold and silver bars. In all, it was valued at between $12 million and $60 million at the time, now worth an incalculable fortune. Once on their way to Mexico, following a mutiny on board, Thompson and his crew did not keep their word. Instead they killed the monks and soldiers who were supervising the operation and then sailed for Cocos Island, where they buried the incalculable treasure. Shortly afterward the Mary Dear was apprehended by a Spanish frigate. All the crew except Thompson and his first mate were tortured and hanged for piracy. The lucky two managed to avoid this fate by promising to show the Spaniards where they had hidden the treasure. They led them to Isla del Coco, but on landing they escaped into its inhospitable jungle, never to be caught by their pursuers.1 Hundreds of attempts to find this and other treasures reportedly buried on the island—stashed away by legendary rogues including Benito “of the Bloody Sword” Bonito, William Dampier, Edward Davis, and even, some say, Captain Kidd—have failed. By burying our own art treasure on Cocos just a short distance from where these original treasures are purported to remain buried, we were updating the island’s swashbuckling history, and by doing so we hoped to draw attention to what is to our minds the real treasure. Cocos Island National Park was designated a World Heritage Site by UNESCO in 1997. In 2002 the designation was extended to include an expanded marine zone of 2000km². In addition, the island is included in the list of “Wetlands of International Importance” but, tragically, Costa Rica has difficulty policing its surrounding marine national park from illegal fishing, which is seriously depleting the shark population and subsequently leading several species of sharks to be placed on the endangered list. Our project titled Born to Die, which is funded by the sale of the “map” to the treasure, is generating awareness of the urgent need to protect and save these pelagic aggregation sites from this constant threat. We have initiated a study of the area, which brings to light the critical breeding habits of the species that Cocos is famous for. These include scalloped hammerheads, tiger sharks, and Hawksbill and Ridley sea turtles, all of which have been recently placed on the wildlife endangered list. 12
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with jeweled hilts, 1,000 diamonds, solid gold crowns, 150 chalices, and hundreds of gold and silver bars. In all, it was valued at between $12 million and $60 million at the time, now worth an incalculable fortune. Once on their way to Mexico, following a mutiny on board, Thompson and his crew did not keep their word. Instead they killed the monks and soldiers who were supervising the operation and then sailed for Cocos Island, where they buried the incalculable treasure. Shortly afterward the Mary Dear was apprehended by a Spanish frigate. All the crew except Thompson and his first mate were tortured and hanged for piracy. The lucky two managed to avoid this fate by promising to show the Spaniards where they had hidden the treasure. They led them to Isla del Coco, but on landing they escaped into its inhospitable jungle, never to be caught by their pursuers.1 Hundreds of attempts to find this and other treasures reportedly buried on the island—stashed away by legendary rogues including Benito “of the Bloody Sword” Bonito, William Dampier, Edward Davis, and even, some say, Captain Kidd—have failed. By burying our own art treasure on Cocos just a short distance from where these original treasures are purported to remain buried, we were updating the island’s swashbuckling history, and by doing so we hoped to draw attention to what is to our minds the real treasure. Cocos Island National Park was designated a World Heritage Site by UNESCO in 1997. In 2002 the designation was extended to include an expanded marine zone of 2000km². In addition, the island is included in the list of “Wetlands of International Importance” but, tragically, Costa Rica has difficulty policing its surrounding marine national park from illegal fishing, which is seriously depleting the shark population and subsequently leading several species of sharks to be placed on the endangered list. Our project titled Born to Die, which is funded by the sale of the “map” to the treasure, is generating awareness of the urgent need to protect and save these pelagic aggregation sites from this constant threat. We have initiated a study of the area, which brings to light the critical breeding habits of the species that Cocos is famous for. These include scalloped hammerheads, tiger sharks, and Hawksbill and Ridley sea turtles, all of which have been recently placed on the wildlife endangered list. 12
13
What is also interesting to me is the way the project raises questions about our value systems for both art and nature. How do we collect? What is an exhibition? Which is more precious, old treasure or preserving nature’s treasure? If you manage to find our buried exhibition, what have you really found? Riches, or something worth preserving for future generations? This new treasure is causing a storm as it brings together so many conflicting value systems, which combine to ask critical questions: What is precious? And how do we keep it that way? I want to thank everyone who was part of the project, and all those who will become part of it, forever and ever, for helping us understand something about what we value most. Is it ourselves? Our possessions? Have we become our possessions? And do we actually own our possessions? As a World Heritage site since 1979, Cocos Island is the only place on earth where it is forbidden to dig for and remove treasure, so if you go and claim your treasure after deciphering the code, you only shine a light on the weaknesses of the system. Left on the island, it engages in a dialogue with the real treasure, the island itself, reminding us that some things are best left unknown! I want to thank all the artists who generously contributed the works of art that make up the treasure. I also offer my deep appreciation Carlos Uribe and FAICO for the valiant attempt to save Cocos Island. I send all my respect to Fernando Quiros Brenes and the rangers of Cocos, who do a largely thankless job in very difficult circumstances, with insufficient material at their disposal. I want to thank the splendid crew of the Dardanella, led by Captain Brady, for their tireless work on this incredible expedition, not only once but twice. I am grateful to Ocean Ramsey, Nico Ghersinich, Ilena Zanella and Dr. Dayne Buddo for their shark-diving expertise and their contributions to the Born to Die project, and to the whole team at TBA21 Academy, particularily Markus Reymann who helped me keep this vision alive through thick and thin and Nadim Samman who came up with the idea in the first place. Saludos to Pepe! 1. John M. MacFarlane, “Searching for Pirate Treasure in the Pacific,” 2002, See http://www.nauticapedia.ca/Articles/Articles_Treasure.php (accessed 2/10/2014).
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What is also interesting to me is the way the project raises questions about our value systems for both art and nature. How do we collect? What is an exhibition? Which is more precious, old treasure or preserving nature’s treasure? If you manage to find our buried exhibition, what have you really found? Riches, or something worth preserving for future generations? This new treasure is causing a storm as it brings together so many conflicting value systems, which combine to ask critical questions: What is precious? And how do we keep it that way? I want to thank everyone who was part of the project, and all those who will become part of it, forever and ever, for helping us understand something about what we value most. Is it ourselves? Our possessions? Have we become our possessions? And do we actually own our possessions? As a World Heritage site since 1979, Cocos Island is the only place on earth where it is forbidden to dig for and remove treasure, so if you go and claim your treasure after deciphering the code, you only shine a light on the weaknesses of the system. Left on the island, it engages in a dialogue with the real treasure, the island itself, reminding us that some things are best left unknown! I want to thank all the artists who generously contributed the works of art that make up the treasure. I also offer my deep appreciation Carlos Uribe and FAICO for the valiant attempt to save Cocos Island. I send all my respect to Fernando Quiros Brenes and the rangers of Cocos, who do a largely thankless job in very difficult circumstances, with insufficient material at their disposal. I want to thank the splendid crew of the Dardanella, led by Captain Brady, for their tireless work on this incredible expedition, not only once but twice. I am grateful to Ocean Ramsey, Nico Ghersinich, Ilena Zanella and Dr. Dayne Buddo for their shark-diving expertise and their contributions to the Born to Die project, and to the whole team at TBA21 Academy, particularily Markus Reymann who helped me keep this vision alive through thick and thin and Nadim Samman who came up with the idea in the first place. Saludos to Pepe! 1. John M. MacFarlane, “Searching for Pirate Treasure in the Pacific,” 2002, See http://www.nauticapedia.ca/Articles/Articles_Treasure.php (accessed 2/10/2014).
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Drawing: Aranda/Lasch, 2014
14 DESIGNING THE FIND BENJAMIN ARANDA
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Drawing: Aranda/Lasch, 2014
14 DESIGNING THE FIND BENJAMIN ARANDA
The treasure chest is designed from an imagined moment of finding
water-proof. Nested around this bubble of glass is the stainless steel
a treasure. Its physical reveal from dirt or water into air, the frantic
rhombicuboctahedron; the inner layer of protection firmly holds the
digging or clearing of debris, and finally its release from hiding, are
glass sphere in place. The shape is constructed using an octohedron
imagined to be highly moving and memorable seconds. This moment
and cube together, hence its name. The outer layer of protection is a
of discovery, perhaps the most exciting time in any treasure hunt,
direct branching of these vertices into a simpler and larger shape, a
inspired the design of the vessel in its form and materiality.
truncated tetrahedron. The truncated tetrahedron is a classic building
Consider the extreme parameters this particular treasure chest
block of many solid-state lattice structures in nature, among them, the
had to satisfy in order to protect its loot. The chest was designed to
crystal diamond. As a simplification of a sphere, it is about as far as
keep its contents dry, intact and vacuum-sealed up to 6.7km below
you can go.
water, the bottom of most oceans, and also to survive a plunge to that
Finally, this last shape is a fragment of something larger. The
depth. As a worst case scenario we feared failure in resisting a severe
truncation itself, the chopped off corners that assist in stability, are
impact from a tumble, or crushing weight from a large boulder or ship.
located in such a way that an exact smaller copy of the truncated
It also had to be able to outlive all of us, capable of holding its treasure
tetrahedron can fit within the remaining space. This is the exact way to
in a stable environment for millennia. It had to be the most perfect
build a fractal, and in this sense the design of the treasure chest is about
embodiment of protection and security.
the possibility of growth and the first step towards endlessness. It is
But the question keeps coming to mind: How in this moment of
the smallest component of something potentially vast. When we were
finding can something universal be transmitted to the treasure hunter,
asked to design this treasure chest, we were struck by the assemblage
pirate, or lucky soul who strikes first? We want the discovery to be
of renowned artists and the multiple universes they create—all distinct
both singular and systemic at once. It is about finding something pure,
voices together inside this little spherical vacuum. Upon its recovery
without compromise. The word perfection seems appropriate, if not for
and the release of the vacuum, the finder expands the influence of
its hubris then at least for its cinematic projection of a perfect shiny
these works and their possible universes into the air again. Acting in
grain uncovered in the vastness of nature, like a diamond in the rough.
the same way as the chest itself, the artwork inside may be singular
It has an essentialist quality to it, as a single universal shape from an
but the real treasure is how it presents, yet again, a key to other worlds
indeterminate era. But it is also part of something larger and expansive.
waiting to be discovered.
The chest is a nesting of three shapes: a sphere at the center, within an inner rhombicuboctahedron, within an outer truncated tetrahedron. This movement from a perfect sphere to highly symmetrical shapes, sometimes referred to as Archimedean Solids, describes what is referred to in mathematics as expansion, or the possibility of unfolding multiple orders within itself. Historically the sphere, and by association the world, was thought to contain them all—the final result and point of departure. On the very inside of the treasure chest is the glass sphere, creating a vacuum seal to hold the individual works of art. It is made of thick glass and is impervious to decay, impact-resistant and 18
19
The treasure chest is designed from an imagined moment of finding
water-proof. Nested around this bubble of glass is the stainless steel
a treasure. Its physical reveal from dirt or water into air, the frantic
rhombicuboctahedron; the inner layer of protection firmly holds the
digging or clearing of debris, and finally its release from hiding, are
glass sphere in place. The shape is constructed using an octohedron
imagined to be highly moving and memorable seconds. This moment
and cube together, hence its name. The outer layer of protection is a
of discovery, perhaps the most exciting time in any treasure hunt,
direct branching of these vertices into a simpler and larger shape, a
inspired the design of the vessel in its form and materiality.
truncated tetrahedron. The truncated tetrahedron is a classic building
Consider the extreme parameters this particular treasure chest
block of many solid-state lattice structures in nature, among them, the
had to satisfy in order to protect its loot. The chest was designed to
crystal diamond. As a simplification of a sphere, it is about as far as
keep its contents dry, intact and vacuum-sealed up to 6.7km below
you can go.
water, the bottom of most oceans, and also to survive a plunge to that
Finally, this last shape is a fragment of something larger. The
depth. As a worst case scenario we feared failure in resisting a severe
truncation itself, the chopped off corners that assist in stability, are
impact from a tumble, or crushing weight from a large boulder or ship.
located in such a way that an exact smaller copy of the truncated
It also had to be able to outlive all of us, capable of holding its treasure
tetrahedron can fit within the remaining space. This is the exact way to
in a stable environment for millennia. It had to be the most perfect
build a fractal, and in this sense the design of the treasure chest is about
embodiment of protection and security.
the possibility of growth and the first step towards endlessness. It is
But the question keeps coming to mind: How in this moment of
the smallest component of something potentially vast. When we were
finding can something universal be transmitted to the treasure hunter,
asked to design this treasure chest, we were struck by the assemblage
pirate, or lucky soul who strikes first? We want the discovery to be
of renowned artists and the multiple universes they create—all distinct
both singular and systemic at once. It is about finding something pure,
voices together inside this little spherical vacuum. Upon its recovery
without compromise. The word perfection seems appropriate, if not for
and the release of the vacuum, the finder expands the influence of
its hubris then at least for its cinematic projection of a perfect shiny
these works and their possible universes into the air again. Acting in
grain uncovered in the vastness of nature, like a diamond in the rough.
the same way as the chest itself, the artwork inside may be singular
It has an essentialist quality to it, as a single universal shape from an
but the real treasure is how it presents, yet again, a key to other worlds
indeterminate era. But it is also part of something larger and expansive.
waiting to be discovered.
The chest is a nesting of three shapes: a sphere at the center, within an inner rhombicuboctahedron, within an outer truncated tetrahedron. This movement from a perfect sphere to highly symmetrical shapes, sometimes referred to as Archimedean Solids, describes what is referred to in mathematics as expansion, or the possibility of unfolding multiple orders within itself. Historically the sphere, and by association the world, was thought to contain them all—the final result and point of departure. On the very inside of the treasure chest is the glass sphere, creating a vacuum seal to hold the individual works of art. It is made of thick glass and is impervious to decay, impact-resistant and 18
19
Map, 2014
18 SEEK, DON’T FIND CONSTANT DULLAART
Image caption
20
21
Map, 2014
18 SEEK, DON’T FIND CONSTANT DULLAART
Image caption
20
21
Remember postcards used to be cheaper to send than a letter? At least in Holland you could get a cheaper stamp for a postcard. I have no idea if this is still the case, but it is a moot point. As a kid I thought it wasn't just the extra weight of the envelope that increased the price, but the fact that the mailman could not read your message. An absurd idea, perhaps – having to pay extra to keep your message private from the postal staff – but it is quite a good analogy for our current electronic mail system. An unencrypted email is like a postcard – easy to read, but also to copy, interpret, sell, and store indefinitely for the email delivery people. To continue the analogy, the e-mailman now actively shares this archive with governments or companies for money, and adds some wedding flyers to your mail, since you have been writing to friends about the same relationship for a while. Not a real problem, as long as it gives you something extra to want or long for – like shoes or something. But what happens if the information is used to take something away? Imagine a prejudiced bully from high school. Everyone must know one. Imagine this person having access to your private communication, knowing all your doubts, wishes and hereditary disorders, just by
have an Arabic sounding last name and don't want to be on American
working for Google, or some national security agency subcontractor.
'no fly lists' you self censor yourself in order to avoid trouble in the
More importantly, this person knows who you have shared your secrets
future. This self-censorship and fear of being on the wrong side of
with, and who is dear to you. Sadly enough, I have met several people
the rebel definition is detrimental for the development of counter-
who said they did not worry since they were not doing anything wrong.
culture, and culture in general. Worse is the fact that when people do
Well, you do not have to be doing or typing anything wrong now to be
take care to encrypt their conversations they are deemed paranoid,
oppressed or deemed disloyal or subversive in the future when your
according to the false assumption that nobody might ever deploy your
emails are analyzed.
private information for harm in the future. What I am saying is that
Assuming that a government will stay trustworthy throughout
by not encrypting everyday information, grocery lists, love letters,
your lifetime is pretty insane, looking at history. Let me give you a
appointments, artworks, or even relationships on social networks, we
few keywords to search for; Stasi, Mccarthyism, the killings of 1965–
single out the information and the people that need or favor private
66. Besides that, a little subversion is what makes life exciting, right?
communication and criminalize them by default.
There is still a difference between teenage rebellion and separatist
This is why we needed to protect and encrypt all the information
rebel forces. Challenge the way things are once in a while. Challenge
that could lead to the treasure: to illustrate the measures necessary to
the regime of repetition. By now the joke that the NSA is watching
protect the independent, unsurveilled environment that is necessary
when we type certain keywords in a chat is getting old. When you
for culture to thrive and remain critical.
22
23
Remember postcards used to be cheaper to send than a letter? At least in Holland you could get a cheaper stamp for a postcard. I have no idea if this is still the case, but it is a moot point. As a kid I thought it wasn't just the extra weight of the envelope that increased the price, but the fact that the mailman could not read your message. An absurd idea, perhaps – having to pay extra to keep your message private from the postal staff – but it is quite a good analogy for our current electronic mail system. An unencrypted email is like a postcard – easy to read, but also to copy, interpret, sell, and store indefinitely for the email delivery people. To continue the analogy, the e-mailman now actively shares this archive with governments or companies for money, and adds some wedding flyers to your mail, since you have been writing to friends about the same relationship for a while. Not a real problem, as long as it gives you something extra to want or long for – like shoes or something. But what happens if the information is used to take something away? Imagine a prejudiced bully from high school. Everyone must know one. Imagine this person having access to your private communication, knowing all your doubts, wishes and hereditary disorders, just by
have an Arabic sounding last name and don't want to be on American
working for Google, or some national security agency subcontractor.
'no fly lists' you self censor yourself in order to avoid trouble in the
More importantly, this person knows who you have shared your secrets
future. This self-censorship and fear of being on the wrong side of
with, and who is dear to you. Sadly enough, I have met several people
the rebel definition is detrimental for the development of counter-
who said they did not worry since they were not doing anything wrong.
culture, and culture in general. Worse is the fact that when people do
Well, you do not have to be doing or typing anything wrong now to be
take care to encrypt their conversations they are deemed paranoid,
oppressed or deemed disloyal or subversive in the future when your
according to the false assumption that nobody might ever deploy your
emails are analyzed.
private information for harm in the future. What I am saying is that
Assuming that a government will stay trustworthy throughout
by not encrypting everyday information, grocery lists, love letters,
your lifetime is pretty insane, looking at history. Let me give you a
appointments, artworks, or even relationships on social networks, we
few keywords to search for; Stasi, Mccarthyism, the killings of 1965–
single out the information and the people that need or favor private
66. Besides that, a little subversion is what makes life exciting, right?
communication and criminalize them by default.
There is still a difference between teenage rebellion and separatist
This is why we needed to protect and encrypt all the information
rebel forces. Challenge the way things are once in a while. Challenge
that could lead to the treasure: to illustrate the measures necessary to
the regime of repetition. By now the joke that the NSA is watching
protect the independent, unsurveilled environment that is necessary
when we type certain keywords in a chat is getting old. When you
for culture to thrive and remain critical.
22
23
24 A BURIED EXHIBITION NADIM SAMMAN
BUT NOW ALL THESE HEAVY BOOKS ARE NO USE TO ME ANY MORE, FOR WHERE I GO, WORDS CARRY NO WEIGHT: IT IS BEST, THEN, I SURRENDER THEIR FASCINATING COUNSEL TO THE SILENT DISSOLUTION OF THE SEA WHICH MISUSES NOTHING BECAUSE IT VALUES NOTHING; WHEREAS MAN OVERVALUES EVERYTHING. — PROSPERO TO ARIEL — W. H. AUDEN, THE SEA AND THE MIRROR
24
24 A BURIED EXHIBITION NADIM SAMMAN
BUT NOW ALL THESE HEAVY BOOKS ARE NO USE TO ME ANY MORE, FOR WHERE I GO, WORDS CARRY NO WEIGHT: IT IS BEST, THEN, I SURRENDER THEIR FASCINATING COUNSEL TO THE SILENT DISSOLUTION OF THE SEA WHICH MISUSES NOTHING BECAUSE IT VALUES NOTHING; WHEREAS MAN OVERVALUES EVERYTHING. — PROSPERO TO ARIEL — W. H. AUDEN, THE SEA AND THE MIRROR
24
Can you keep a secret? This is an exhibition that might only ever be
have an illegally downloaded film or two on their hard drive? Further
virtually accessed but which could—though not without a great deal
control mechanisms are required if rule is to be concentrated in
of effort and luck—be experienced first hand. Whether it should be is
particular hands: data protection systems and methods of encryption—
a different matter altogether. Treasure of Lima: A Buried Exhibition
correlates of the fences and border stations erected in physical space.
hijacks the maritime dimensions of Central American history (in its
Pirates represent a threat to legal-political definitions of identity and
pirate element) in order to compare modes of value and methods of
ownership. Today, the Spanish gold of intellectual property is declared
identification in the present. At a time when many people are concerned
free by the Pirate Bay and the first international political party of the
with privacy, surveillance and data protection it also highlights secrecy
internet age, The Pirate Party. There are certainly worthwhile reasons
as a matter of performance—subject to the rule of desire and the
for advocating free data, not least the achievements of open-source
politics of access and exclusion. It does so by engaging the narrative
software initiatives. However, the relationship between this new
and legal identity of Isla del Coco, contrasting historical legends of
ground and ourselves is problematic. In fact, the former entails our
buried treasure with the island’s real status a natural treasure worthy
new figure. Like Borges’ map, digital representation of my personhood
of protection, embellishing the ‘treasure island’ imaginary while
wraps itself around me. This new figure (a digital skin) is not merely
venturing the question ‘How can an exhibition create its own legend?’
composed of photographs or status updates. It is a cluster of technical
The digital era has ushered in a profound intensification of mankind’s
representations with the potential to render my physical body its own
representational capabilities. But emerging languages and technologies
avatar. Witness: The NSA algorithm that recognized trigger words in
shape and extend the ‘real’ world as much as they do reflect it—creating
an innocent man’s correspondence—a phantom, terrorist limb!—and
new terrain. Jean Baudrillard’s introduction to Simulations makes this
placed him on a criminal watch list. According to Edward Snowden the
plain. Redeploying an image from Borges, he envisages the condition
only effective defense against having our new figure expropriated is
of mediation as a map of such size and detail that it comes to cover
making state of the art encryption tools available to every man, woman
the whole world. What do we make of this? Is it merely a case of
and child. If we do not control and collect our new selves then someone
buried essentials; an occluded truth? Why not view it as a revelation?:
or something else will. There are pirates everywhere.
A collapse of map and territory that constitutes a new ground. This new ground—the map-territory nexus—is wild and ripe with possibility.
How do these reflections upon the collapse of map and territory inform Treasure of Lima: A Buried Exhibition? Clearly, they are related
As with human conquest of far-flung islands and the moon, novel
to Boris Groys’ observation that art documentation’s status within
geographies rarely go unclaimed. Like so many flagpoles driven into
museum and market channels has approached near equivalence with
Antarctica’s ice crust, our new ground is being incrementally subdivided.
actual artworks. Photographs of one-time only performances are
What might have been, at the birth of the information age, a huge
now collected and exhibited as if they are co-substantive with their
common has since been declared the field of intellectual property.
referents—even as some creators protest the violence done to their
Across this plane legal tools structure the assertion of ownership
art. Under such conditions, (unseen) bodies of work are exploited by
rights and penalties for infraction. But in practical terms subdivision
virtual substitution. One key aspect of our project is an attempt to
cannot be easily maintained. Try as the entertainment industry might,
exhibit this condition, and to explore its potential.
through warnings and show trials, trespassers occupy the sunny vales
This is effected through a dramaturgy that begins with the
of the map-territory nexus, plucking Hollywood’s fruits. Who doesn’t
statement of buried artworks, announced as a practical fact involving
26
27
Can you keep a secret? This is an exhibition that might only ever be
have an illegally downloaded film or two on their hard drive? Further
virtually accessed but which could—though not without a great deal
control mechanisms are required if rule is to be concentrated in
of effort and luck—be experienced first hand. Whether it should be is
particular hands: data protection systems and methods of encryption—
a different matter altogether. Treasure of Lima: A Buried Exhibition
correlates of the fences and border stations erected in physical space.
hijacks the maritime dimensions of Central American history (in its
Pirates represent a threat to legal-political definitions of identity and
pirate element) in order to compare modes of value and methods of
ownership. Today, the Spanish gold of intellectual property is declared
identification in the present. At a time when many people are concerned
free by the Pirate Bay and the first international political party of the
with privacy, surveillance and data protection it also highlights secrecy
internet age, The Pirate Party. There are certainly worthwhile reasons
as a matter of performance—subject to the rule of desire and the
for advocating free data, not least the achievements of open-source
politics of access and exclusion. It does so by engaging the narrative
software initiatives. However, the relationship between this new
and legal identity of Isla del Coco, contrasting historical legends of
ground and ourselves is problematic. In fact, the former entails our
buried treasure with the island’s real status a natural treasure worthy
new figure. Like Borges’ map, digital representation of my personhood
of protection, embellishing the ‘treasure island’ imaginary while
wraps itself around me. This new figure (a digital skin) is not merely
venturing the question ‘How can an exhibition create its own legend?’
composed of photographs or status updates. It is a cluster of technical
The digital era has ushered in a profound intensification of mankind’s
representations with the potential to render my physical body its own
representational capabilities. But emerging languages and technologies
avatar. Witness: The NSA algorithm that recognized trigger words in
shape and extend the ‘real’ world as much as they do reflect it—creating
an innocent man’s correspondence—a phantom, terrorist limb!—and
new terrain. Jean Baudrillard’s introduction to Simulations makes this
placed him on a criminal watch list. According to Edward Snowden the
plain. Redeploying an image from Borges, he envisages the condition
only effective defense against having our new figure expropriated is
of mediation as a map of such size and detail that it comes to cover
making state of the art encryption tools available to every man, woman
the whole world. What do we make of this? Is it merely a case of
and child. If we do not control and collect our new selves then someone
buried essentials; an occluded truth? Why not view it as a revelation?:
or something else will. There are pirates everywhere.
A collapse of map and territory that constitutes a new ground. This new ground—the map-territory nexus—is wild and ripe with possibility.
How do these reflections upon the collapse of map and territory inform Treasure of Lima: A Buried Exhibition? Clearly, they are related
As with human conquest of far-flung islands and the moon, novel
to Boris Groys’ observation that art documentation’s status within
geographies rarely go unclaimed. Like so many flagpoles driven into
museum and market channels has approached near equivalence with
Antarctica’s ice crust, our new ground is being incrementally subdivided.
actual artworks. Photographs of one-time only performances are
What might have been, at the birth of the information age, a huge
now collected and exhibited as if they are co-substantive with their
common has since been declared the field of intellectual property.
referents—even as some creators protest the violence done to their
Across this plane legal tools structure the assertion of ownership
art. Under such conditions, (unseen) bodies of work are exploited by
rights and penalties for infraction. But in practical terms subdivision
virtual substitution. One key aspect of our project is an attempt to
cannot be easily maintained. Try as the entertainment industry might,
exhibit this condition, and to explore its potential.
through warnings and show trials, trespassers occupy the sunny vales
This is effected through a dramaturgy that begins with the
of the map-territory nexus, plucking Hollywood’s fruits. Who doesn’t
statement of buried artworks, announced as a practical fact involving
26
27
mud and shovels. Yet also by the act of denying the gathered artworks
buried on Coco whose most obvious function is—as its title indicates—
a chance to speak for themselves in direct relationship with an
that of a container. Chest’s twin was designed to maintain the
exhibition audience—their burial beneath the exhibition’s documentary
physical integrity of the various artistic contributions deposited on
and narrative imaging. While the participating artist’s names have been
the island. Its exterior is made of polished stainless steel—a truncated
publicized, the details of their buried works are secret. In fact, with
tetrahedron that opens like a geometric oyster to reveal an internal
only two exceptions—Andrew Ranville and Julian Charrière—the forty
spherical container. This oversize “pearl” is a vacuum sealable glass
participating artists were also denied a chance to install their work on
vessel that would normally be used to protect cameras sent to the
Coco. Moreover, all were ignorant of each other’s contributions. The
ocean floor—capable of withstanding water pressure to a depth of up
exact geographical location of the exhibition is also buried—entombed
to 6.7 kilometers. Set within the mud of Coco, it houses a series of
within the virtual crypt(ography) of Constant Dullaart’s Map (2014). This
aluminum boxes containing works on paper, small scale sculptures, LP
is a 3D printed steel cylinder emblazoned with of thousands of figures
records, digital video and sound files stored on a hard drive. In Chest
which comprise a complex code devised by the artist in collaboration
the pearl-like sphere contains only Dullaart’s Map. In formal terms
with a leading security consultant, whose hidden content is a set of
both containers are a marked departure from the treasure boxes
GPS coordinates detailing Treasure of Lima: A Buried Exhibition’s
so often depicted in woodcuts, comic books and cartoons. Rather
precise whereabouts on Coco.
than attempting to conform to an archaic cliché their look recalls
Map is both a sculpture—a unique physical object whose form has
the product design of market-leading personal computing hardware.
been determined by the artist—and a tool or set of instructions for
While by no means illustrative, their hygienic surfaces and acute
disclosing an elsewhere. On the one hand its cylindrical form serves
angles intentionally suggest a kind of oversized digital data-storage
to recall antique maps or scrolls—an explicit reference to Coco’s
device—fitting, given Map’s installation within.
maritime history—while staging its unreadable script as a digital-era
At this stage we must note the symbiotic relationship between Map
successor to the idiosyncratic markings inscribed on the pirate charts
and Chest on the level of both symbolism and functionality—as well as
of legend. On the other, this form is also a feature of the encryption
their additional interdependence with that which was buried on Coco.
system. Without any indication of where the code begins or ends
It seems that all the putative art objects in the exhibition are only ever
it is exponentially harder to crack. Yet this design as resistance is
partially themselves. Map, for instance, relates to at least thirty-nine
contradicted by Map’s utility for the would-be code breaker, which
other artworks. In other words, the works in this exhibition are fractured,
allows the sculpture to be used as a rolling printing plate—enabling
translocated and distributed across both virtual and real space. Moreover,
the physical transfer of data to paper by way of ink. With Map our
the boundaries between them are blurred. This is the peculiar format of
project’s dramatization of the interconnection between the physical
curatorial gesture—a key feature of its mode of exhibiting.
and the informatic is in focus. These considerations raise the following
We are now in a position to consider how the project’s concern for
questions—must Map be used, rather than contemplated, in order for it
map-territory nexus pertains to Isla del Coco. Burying a contemporary
to achieve the status of an artwork? Or, rather, does it only remain an
treasure on the island is more than an incursion within a geographical
artwork if its functional indeterminacy is maintained?
location. It is an intervention within the narrative, legal and biological
Map, too, finds itself entombed; interred within another artwork— Aranda/Lasch’s Chest (2014). This is a double of the casket that was 28
construction of a place that simultaneously exhibits this construction. Our action partakes of the site-specificity which deems “cultural 29
mud and shovels. Yet also by the act of denying the gathered artworks
buried on Coco whose most obvious function is—as its title indicates—
a chance to speak for themselves in direct relationship with an
that of a container. Chest’s twin was designed to maintain the
exhibition audience—their burial beneath the exhibition’s documentary
physical integrity of the various artistic contributions deposited on
and narrative imaging. While the participating artist’s names have been
the island. Its exterior is made of polished stainless steel—a truncated
publicized, the details of their buried works are secret. In fact, with
tetrahedron that opens like a geometric oyster to reveal an internal
only two exceptions—Andrew Ranville and Julian Charrière—the forty
spherical container. This oversize “pearl” is a vacuum sealable glass
participating artists were also denied a chance to install their work on
vessel that would normally be used to protect cameras sent to the
Coco. Moreover, all were ignorant of each other’s contributions. The
ocean floor—capable of withstanding water pressure to a depth of up
exact geographical location of the exhibition is also buried—entombed
to 6.7 kilometers. Set within the mud of Coco, it houses a series of
within the virtual crypt(ography) of Constant Dullaart’s Map (2014). This
aluminum boxes containing works on paper, small scale sculptures, LP
is a 3D printed steel cylinder emblazoned with of thousands of figures
records, digital video and sound files stored on a hard drive. In Chest
which comprise a complex code devised by the artist in collaboration
the pearl-like sphere contains only Dullaart’s Map. In formal terms
with a leading security consultant, whose hidden content is a set of
both containers are a marked departure from the treasure boxes
GPS coordinates detailing Treasure of Lima: A Buried Exhibition’s
so often depicted in woodcuts, comic books and cartoons. Rather
precise whereabouts on Coco.
than attempting to conform to an archaic cliché their look recalls
Map is both a sculpture—a unique physical object whose form has
the product design of market-leading personal computing hardware.
been determined by the artist—and a tool or set of instructions for
While by no means illustrative, their hygienic surfaces and acute
disclosing an elsewhere. On the one hand its cylindrical form serves
angles intentionally suggest a kind of oversized digital data-storage
to recall antique maps or scrolls—an explicit reference to Coco’s
device—fitting, given Map’s installation within.
maritime history—while staging its unreadable script as a digital-era
At this stage we must note the symbiotic relationship between Map
successor to the idiosyncratic markings inscribed on the pirate charts
and Chest on the level of both symbolism and functionality—as well as
of legend. On the other, this form is also a feature of the encryption
their additional interdependence with that which was buried on Coco.
system. Without any indication of where the code begins or ends
It seems that all the putative art objects in the exhibition are only ever
it is exponentially harder to crack. Yet this design as resistance is
partially themselves. Map, for instance, relates to at least thirty-nine
contradicted by Map’s utility for the would-be code breaker, which
other artworks. In other words, the works in this exhibition are fractured,
allows the sculpture to be used as a rolling printing plate—enabling
translocated and distributed across both virtual and real space. Moreover,
the physical transfer of data to paper by way of ink. With Map our
the boundaries between them are blurred. This is the peculiar format of
project’s dramatization of the interconnection between the physical
curatorial gesture—a key feature of its mode of exhibiting.
and the informatic is in focus. These considerations raise the following
We are now in a position to consider how the project’s concern for
questions—must Map be used, rather than contemplated, in order for it
map-territory nexus pertains to Isla del Coco. Burying a contemporary
to achieve the status of an artwork? Or, rather, does it only remain an
treasure on the island is more than an incursion within a geographical
artwork if its functional indeterminacy is maintained?
location. It is an intervention within the narrative, legal and biological
Map, too, finds itself entombed; interred within another artwork— Aranda/Lasch’s Chest (2014). This is a double of the casket that was 28
construction of a place that simultaneously exhibits this construction. Our action partakes of the site-specificity which deems “cultural 29
Aranda\Lasch, Chest, 2014 Internal storage compartments (detail) 31
Aranda\Lasch, Chest, 2014 Internal storage compartments (detail) 31
33
33
35
35
debates, a theoretical concept, a social issue, a political problem,
protected areas in the Eastern Tropical Pacific. It is these institutional
an institutional framework […] a historical condition, even particular
and legal representations that, we contend, constitute the regulatory
formations of desire” as sites. 1 To this list we must also add economy.
mapping of Coco’s natural treasure.
Treasure of Lima: A Buried Exhibition plots the cultural-historic coordinates of Coco while at the same time altering them.
Our project exhibits the value of these regulations—indeed, the importance of their mediation between the treasure and its would-
Isla del Coco is the historical source of many foundational legends
be hunters—by challenging them: In order for the exhibition to be
relating to buried treasure. Stories relating to historical events on Isla
experienced in real life access must be had. This will only be possible
del Coco have developed into myth, inspired novels and genre fantasies
if the protection laws are abolished or if their enforcement fails. Under
for more than a century. On the most basic level our project adds a
such circumstances the recovery of the buried exhibition (trash?) will
new buried “treasure” to the island’s history. Already, anyone seeking
mark an assault on something of greater value. In seeking the park’s
information regarding the hidden hoards of Coco will find details of our
permission to bury our exhibition—what real pirate would do that?—we
enterprise online—on sites not maintained by TBA21-Academy. We have
acknowledged the current system of regulation, even as we confronted
certainly instituted the island’s only buried treasure of the twenty-
its representatives with a challenge to their management. Our
first century, and have done so in order to modify the definition of
intervention certainly arouses interest in the works’ potential recovery.
treasure itself in future tellings of Coco’s history.
As was to be expected, careful explaining was required in order to
Burying a new “treasure” on the island highlights the regulations
receive an affirmative answer—eventually granted on the condition
restricting human access to this protected area on ecological grounds.
that one of the park’s biologists be present during the burial process to
As it happens, Coco is the only place in the world where treasure
ensure the well-being of endemic flora and fauna. It was then that we
hunting is specifically illegal. What manner of tools have been deployed
had to decide if we could trust this observer. We attempted to include a
in the pursuit of wealth deemed to be buried on its beaches or under
clause for blindfolding them in our written agreement—something that
palm trees? F. D. Roosevelt’s own military issue metal detector—used
was, unsurprisingly, turned down. The exhibition as agent provocateur.
in between bouts of sport fishing—is kept in the Park Ranger’s mess
Clearly, our project borrows its title from the first Treasure of Lima.
hall at Wafer Bay. Prussian adventurer August Gissler used a shovel
This doubling is calculated to effect a productive misfiling within
to dig myriad tunnels in his search for Benito “Bloody Sword” Bonito’s
the historical archive, whereby our agenda is smuggled into future
plunder. Yet the most destructive of all was certainly the dynamite used
analyses of ownership, exploitation and misappropriation relating to
in various professional expeditions towards the end of the twentieth
the region. Invoking the Treasure of Lima highlights the maritime and
century. Happily, the statutes which render such prospecting illegal
colonial history of Central America. The original treasure consisted
today stem from the Costa Rican government’s understanding that
of precious metals, stones and artifacts requisitioned by the Spanish
the island—and its surrounding waters—are themselves unparalleled
from their Central and South American dominions, including 113 gold
(natural) riches in need of preservation. It declared the island a National
religious statues, one of which was a life-sized Virgin Mary; 200 chests
Park in 1978, and UNESCO named it a World Heritage Site in 1997. The
of jewels; 273 swords with jeweled hilts; 1000 diamonds; numerous
Seamounts Marine Management Area—the aquatic reserve created in
solid gold crowns; 150 chalices; and hundreds of gold and silver bars. 2
2011 that surrounds the island—is larger than the Yellowstone National
This agglomeration is telling, in so far as it symbolizes the outlook
Park and second only to the Galápagos National Park in terms of marine
and self-deceptions of Lima’s colonial rulers: capital, religion and
36
37
debates, a theoretical concept, a social issue, a political problem,
protected areas in the Eastern Tropical Pacific. It is these institutional
an institutional framework […] a historical condition, even particular
and legal representations that, we contend, constitute the regulatory
formations of desire” as sites. 1 To this list we must also add economy.
mapping of Coco’s natural treasure.
Treasure of Lima: A Buried Exhibition plots the cultural-historic coordinates of Coco while at the same time altering them.
Our project exhibits the value of these regulations—indeed, the importance of their mediation between the treasure and its would-
Isla del Coco is the historical source of many foundational legends
be hunters—by challenging them: In order for the exhibition to be
relating to buried treasure. Stories relating to historical events on Isla
experienced in real life access must be had. This will only be possible
del Coco have developed into myth, inspired novels and genre fantasies
if the protection laws are abolished or if their enforcement fails. Under
for more than a century. On the most basic level our project adds a
such circumstances the recovery of the buried exhibition (trash?) will
new buried “treasure” to the island’s history. Already, anyone seeking
mark an assault on something of greater value. In seeking the park’s
information regarding the hidden hoards of Coco will find details of our
permission to bury our exhibition—what real pirate would do that?—we
enterprise online—on sites not maintained by TBA21-Academy. We have
acknowledged the current system of regulation, even as we confronted
certainly instituted the island’s only buried treasure of the twenty-
its representatives with a challenge to their management. Our
first century, and have done so in order to modify the definition of
intervention certainly arouses interest in the works’ potential recovery.
treasure itself in future tellings of Coco’s history.
As was to be expected, careful explaining was required in order to
Burying a new “treasure” on the island highlights the regulations
receive an affirmative answer—eventually granted on the condition
restricting human access to this protected area on ecological grounds.
that one of the park’s biologists be present during the burial process to
As it happens, Coco is the only place in the world where treasure
ensure the well-being of endemic flora and fauna. It was then that we
hunting is specifically illegal. What manner of tools have been deployed
had to decide if we could trust this observer. We attempted to include a
in the pursuit of wealth deemed to be buried on its beaches or under
clause for blindfolding them in our written agreement—something that
palm trees? F. D. Roosevelt’s own military issue metal detector—used
was, unsurprisingly, turned down. The exhibition as agent provocateur.
in between bouts of sport fishing—is kept in the Park Ranger’s mess
Clearly, our project borrows its title from the first Treasure of Lima.
hall at Wafer Bay. Prussian adventurer August Gissler used a shovel
This doubling is calculated to effect a productive misfiling within
to dig myriad tunnels in his search for Benito “Bloody Sword” Bonito’s
the historical archive, whereby our agenda is smuggled into future
plunder. Yet the most destructive of all was certainly the dynamite used
analyses of ownership, exploitation and misappropriation relating to
in various professional expeditions towards the end of the twentieth
the region. Invoking the Treasure of Lima highlights the maritime and
century. Happily, the statutes which render such prospecting illegal
colonial history of Central America. The original treasure consisted
today stem from the Costa Rican government’s understanding that
of precious metals, stones and artifacts requisitioned by the Spanish
the island—and its surrounding waters—are themselves unparalleled
from their Central and South American dominions, including 113 gold
(natural) riches in need of preservation. It declared the island a National
religious statues, one of which was a life-sized Virgin Mary; 200 chests
Park in 1978, and UNESCO named it a World Heritage Site in 1997. The
of jewels; 273 swords with jeweled hilts; 1000 diamonds; numerous
Seamounts Marine Management Area—the aquatic reserve created in
solid gold crowns; 150 chalices; and hundreds of gold and silver bars. 2
2011 that surrounds the island—is larger than the Yellowstone National
This agglomeration is telling, in so far as it symbolizes the outlook
Park and second only to the Galápagos National Park in terms of marine
and self-deceptions of Lima’s colonial rulers: capital, religion and
36
37
the blade. Though “stolen” from them by the British mariner turned
of questionable deployment of resources and the impulse to possess,
buccaneer William Thompson, their legitimate ownership of the trove
satisfied, assuming current statutes remain, through disregard for
is ethically disputable. Our work consists in turning considerations
Costa Rican law. This mentality will seek to acquire, in one fell swoop,
of ownership, piracy and colonialism towards—notwithstanding our
a whole collection—of forty artworks—and to hell with the paradoxical
interest in discussing the value and ownership of art—contemporary
niceties of the exhibition hang. Ascertaining the GPS coordinates might
ecological piracy in the waters around Coco. Moreover, we intend to
allow one to drop a pin on a map of Coco, to thrust a spade into the soil
exhibit the methods by which Coco’s natural treasure is secured. The
and ultimately to observe the contents of the chest, but in this process
intention is to re-draw the area’s narrative coordinates, and eventually
something will be lost Once opened, Map is just a map; the exhibition
to influence its regulatory ones.
just the things in the box buried on Coco. Allowing the unruly object to
Given the ecological mindset already evidenced in the project, it might seem contradictory to incite a collector to mount an expedition
remain buried and closed is what keeps our exhibition open. These comments shed some light on how surveillance—obser
to Coco in order to dig for buried artworks—as if the money spent on
vation—relates to our new figure. Following Snowden, it would seem
marine conservation constituted a kind of contemporary indulgence
that only enclosure within a cryptographic strongbox allows for
for terrestrial pillage. This would be the case were it not for the
paradoxical identification—to be one thing and another simultaneously.
resolute difficulty—indeed the near impossibility—of recovering the
On a political level, personal data protection helps us to maintain a
buried works. Indeed, beyond the encryption methodology previously
translocational identity that amounts to freedom itself. When we are
outlined, the project employs the principle of design as resistance in
observed and measured as one thing or another by an external gaze
a more holistic fashion. The buyer takes receipt of the Map without
our paradoxical potential—to be both outlaws and good citizens, for
the decryption key. Purchasing it may afford them a better chance
instance—is dead in the water. We are collected, put on file—some
of locating the “exhibition” than other persons. However, it is by no
butterflies pinned, others broken on a wheel.
means a practical or legal guarantee of access. There is the challenge
Returning to the Coco—disinterring the buried works might kill our
of cracking the code. In addition, there is the issue of gaining access
exhibition’s paradoxical quality but it will also do something else. It will
to the island. Given that digging for treasure is banned on Coco this is
announce the fact that enforcement of the statutes restricting human
easier imagined than achieved. Finally, purchasing the map does not
access to the island has failed. It may even, at some future date, be
necessarily underwrite ownership of the buried artworks, even if they
testament to these statutes being abolished altogether. In light of our
are eventually recovered. In this respect the potential ownership of
pelagic research and conservation initiative, these implications are
the buried artworks is, itself, buried beneath a set of challenges.
ventured as a general parallel to the ongoing assault on the park’s
There may be an auction, but the full extent of what has really
marine protection area. Every day fishing boats pillage its waters,
been bought is—to a degree—open to interpretation. One part of
taking a bounty of threatened species. Scalloped hammerheads, even
our exhibition’s dramaturgy enlists the buyer of Map and Chest in a
tiger sharks, are pulled thrashing to the surface—only for their pectoral,
performative role in which they can either choose to ratify the power
dorsal and tail fins to be crudely sliced from their bodies before they
of the pirate mentality or, alternatively, respect the status of the unruly
are thrown back into the sea, bleeding, to sink and drown. Countless
object. The pirate mentality is what might transport a certain buyer from
other species are scooped up in nets. Quite apart from its illegality,
the air-conditioned saleroom to the bluffs and jungle of Coco; by way
this is inter-species piracy. The politics of access and exclusion from
38
39
the blade. Though “stolen” from them by the British mariner turned
of questionable deployment of resources and the impulse to possess,
buccaneer William Thompson, their legitimate ownership of the trove
satisfied, assuming current statutes remain, through disregard for
is ethically disputable. Our work consists in turning considerations
Costa Rican law. This mentality will seek to acquire, in one fell swoop,
of ownership, piracy and colonialism towards—notwithstanding our
a whole collection—of forty artworks—and to hell with the paradoxical
interest in discussing the value and ownership of art—contemporary
niceties of the exhibition hang. Ascertaining the GPS coordinates might
ecological piracy in the waters around Coco. Moreover, we intend to
allow one to drop a pin on a map of Coco, to thrust a spade into the soil
exhibit the methods by which Coco’s natural treasure is secured. The
and ultimately to observe the contents of the chest, but in this process
intention is to re-draw the area’s narrative coordinates, and eventually
something will be lost Once opened, Map is just a map; the exhibition
to influence its regulatory ones.
just the things in the box buried on Coco. Allowing the unruly object to
Given the ecological mindset already evidenced in the project, it might seem contradictory to incite a collector to mount an expedition
remain buried and closed is what keeps our exhibition open. These comments shed some light on how surveillance—obser
to Coco in order to dig for buried artworks—as if the money spent on
vation—relates to our new figure. Following Snowden, it would seem
marine conservation constituted a kind of contemporary indulgence
that only enclosure within a cryptographic strongbox allows for
for terrestrial pillage. This would be the case were it not for the
paradoxical identification—to be one thing and another simultaneously.
resolute difficulty—indeed the near impossibility—of recovering the
On a political level, personal data protection helps us to maintain a
buried works. Indeed, beyond the encryption methodology previously
translocational identity that amounts to freedom itself. When we are
outlined, the project employs the principle of design as resistance in
observed and measured as one thing or another by an external gaze
a more holistic fashion. The buyer takes receipt of the Map without
our paradoxical potential—to be both outlaws and good citizens, for
the decryption key. Purchasing it may afford them a better chance
instance—is dead in the water. We are collected, put on file—some
of locating the “exhibition” than other persons. However, it is by no
butterflies pinned, others broken on a wheel.
means a practical or legal guarantee of access. There is the challenge
Returning to the Coco—disinterring the buried works might kill our
of cracking the code. In addition, there is the issue of gaining access
exhibition’s paradoxical quality but it will also do something else. It will
to the island. Given that digging for treasure is banned on Coco this is
announce the fact that enforcement of the statutes restricting human
easier imagined than achieved. Finally, purchasing the map does not
access to the island has failed. It may even, at some future date, be
necessarily underwrite ownership of the buried artworks, even if they
testament to these statutes being abolished altogether. In light of our
are eventually recovered. In this respect the potential ownership of
pelagic research and conservation initiative, these implications are
the buried artworks is, itself, buried beneath a set of challenges.
ventured as a general parallel to the ongoing assault on the park’s
There may be an auction, but the full extent of what has really
marine protection area. Every day fishing boats pillage its waters,
been bought is—to a degree—open to interpretation. One part of
taking a bounty of threatened species. Scalloped hammerheads, even
our exhibition’s dramaturgy enlists the buyer of Map and Chest in a
tiger sharks, are pulled thrashing to the surface—only for their pectoral,
performative role in which they can either choose to ratify the power
dorsal and tail fins to be crudely sliced from their bodies before they
of the pirate mentality or, alternatively, respect the status of the unruly
are thrown back into the sea, bleeding, to sink and drown. Countless
object. The pirate mentality is what might transport a certain buyer from
other species are scooped up in nets. Quite apart from its illegality,
the air-conditioned saleroom to the bluffs and jungle of Coco; by way
this is inter-species piracy. The politics of access and exclusion from
38
39
the park, and the challenges that the rangers face policing it has, for
Eliasson, cut to the heart of the matter: “Art is not the only thing that
too long, be unexamined.
is important. We must also consider the ways that it is communicated,
We have already spoken about the performative role assigned to
handled, treasured, kept or not kept. Somebody has to take this
the collector within the structure of our exhibition. They will either put
responsibility and radicalize it. Going to Coco and actually burying a
Map to use in an attempt to recover the works buried on Coco or enact
treasure is pretty radical—thinking about it is one thing but doing it is
a relation to both the superposition of art in the project and the value of
clearly something else. Then to follow through, to consider what type
restricting human access to the island. The latter is a relation of trust.
of responsibility codex you have installed and how to translate this into
Amongst other things, in law an owner who places their legal property
ideological action, is an interesting question.” It is a question that has
into trust relinquishes control of its benefits. Accessing the works
been answered by an incredible coalition of partners. Our project has
buried on Coco is one potential benefit of owning Map. Letting them
drawn together a motley crew of park rangers, bureaucrats, divers,
lie performs an act of trust, in so far as she has willfully let go of this
conservationists, artists and sailors. It has taken place underwater,
advantage. By doing so the collector also performs trust in the generic
in the jungle, at sea, in code, and at an auction house. It has affected
sense, asserting—through her (in)action—confidence that maintaining
an alliance of hackers, apex predators and art collectors—all the
the map-territory nexus is more worthwhile than recovering the
while negotiating past and present histories of piracy. Throughout,
buried objects. She also demonstrates an exemplary commitment to
our veritable ship of fools has dared to ask the question, “How can
the statutes limiting exploitation of Coco and its surrounding waters.
an exhibition create its own legend?” None of this could have been
This is a kind of collecting that considers proximity to the buried art
ventured without trust in one another—and the future of our pelagic
objects or the island itself phenomena whose quantification does not
research and conservation project relies upon it. None of us could
necessarily indicate the quality of the relationship.
have known that we would not be bitten by the sharks of Coco until
Trust in our map-territory nexus is of a piece with a general outlook that recognizes no operative separation between nature, culture and
we swam with them. We had to trust that they would do us no harm. Pirates, sharks or otherwise—trust is the real adventure.
humanity. What appeared to be an island separated from other lands is—as the artist Andrew Ranville reminds us—merely the visible tip of a tectonic plate; just one part of a larger system. Rather than there being a yawning gap between the sharks of Coco and metropolitan modernity there is only interconnection and engagement. We cannot avoid affecting these creatures, either by focused exploitation or laissez-faire fallout. We must now choose to critically appraise the design of this relationship that spans oceans and continents. Given the somewhat esoteric nature of our previous reflections upon the distributed nature of the exhibition format, the map-territory nexus and our new figure, it would be remiss to leave the following unsaid: Treasure of Lima: A Buried Exhibition was, and remains, an adventure. Comments by one of our contributing artists, Olafur 40
Notes 1. The Pirate Party. 2. Miwon Kwon, “One Place After Another: Notes on Site-Specificity,” in October, Vol. 80 (Cambridge, MA: MIT Press, 1997). 3. Its value today is reckoned at £160 million. See http://www. businessinsider.com/british-explorer-closes-in-on-legendary-treasure-of-lima2012-8#ixzz30OkhILxR , accessed July 30, 2014. 4. Joseph Rykwert, “Why Collect?”, in History Today, Vol. 51, Issue 12, 2001. 5. Werner Muensterberger, Collecting: An Unruly Passion: Psychological Perspectives (New York: Harcourt, Brace and Company, 1994). 6. I quote Isaiah Berlin’s paraphrase in Isaiah Berlin, The Roots of Romanticism (Princeton, New Jersey: Princeton University Press, 2001), 43. 7. Timothy Morton, Hyperobjects: Philosophy and Ecology after the End of the World (Minneapolis, University of Minnesota Press, 2013), 18. 8. Ibid. 19. 41
the park, and the challenges that the rangers face policing it has, for
Eliasson, cut to the heart of the matter: “Art is not the only thing that
too long, be unexamined.
is important. We must also consider the ways that it is communicated,
We have already spoken about the performative role assigned to
handled, treasured, kept or not kept. Somebody has to take this
the collector within the structure of our exhibition. They will either put
responsibility and radicalize it. Going to Coco and actually burying a
Map to use in an attempt to recover the works buried on Coco or enact
treasure is pretty radical—thinking about it is one thing but doing it is
a relation to both the superposition of art in the project and the value of
clearly something else. Then to follow through, to consider what type
restricting human access to the island. The latter is a relation of trust.
of responsibility codex you have installed and how to translate this into
Amongst other things, in law an owner who places their legal property
ideological action, is an interesting question.” It is a question that has
into trust relinquishes control of its benefits. Accessing the works
been answered by an incredible coalition of partners. Our project has
buried on Coco is one potential benefit of owning Map. Letting them
drawn together a motley crew of park rangers, bureaucrats, divers,
lie performs an act of trust, in so far as she has willfully let go of this
conservationists, artists and sailors. It has taken place underwater,
advantage. By doing so the collector also performs trust in the generic
in the jungle, at sea, in code, and at an auction house. It has affected
sense, asserting—through her (in)action—confidence that maintaining
an alliance of hackers, apex predators and art collectors—all the
the map-territory nexus is more worthwhile than recovering the
while negotiating past and present histories of piracy. Throughout,
buried objects. She also demonstrates an exemplary commitment to
our veritable ship of fools has dared to ask the question, “How can
the statutes limiting exploitation of Coco and its surrounding waters.
an exhibition create its own legend?” None of this could have been
This is a kind of collecting that considers proximity to the buried art
ventured without trust in one another—and the future of our pelagic
objects or the island itself phenomena whose quantification does not
research and conservation project relies upon it. None of us could
necessarily indicate the quality of the relationship.
have known that we would not be bitten by the sharks of Coco until
Trust in our map-territory nexus is of a piece with a general outlook that recognizes no operative separation between nature, culture and
we swam with them. We had to trust that they would do us no harm. Pirates, sharks or otherwise—trust is the real adventure.
humanity. What appeared to be an island separated from other lands is—as the artist Andrew Ranville reminds us—merely the visible tip of a tectonic plate; just one part of a larger system. Rather than there being a yawning gap between the sharks of Coco and metropolitan modernity there is only interconnection and engagement. We cannot avoid affecting these creatures, either by focused exploitation or laissez-faire fallout. We must now choose to critically appraise the design of this relationship that spans oceans and continents. Given the somewhat esoteric nature of our previous reflections upon the distributed nature of the exhibition format, the map-territory nexus and our new figure, it would be remiss to leave the following unsaid: Treasure of Lima: A Buried Exhibition was, and remains, an adventure. Comments by one of our contributing artists, Olafur 40
Notes 1. The Pirate Party. 2. Miwon Kwon, “One Place After Another: Notes on Site-Specificity,” in October, Vol. 80 (Cambridge, MA: MIT Press, 1997). 3. Its value today is reckoned at £160 million. See http://www. businessinsider.com/british-explorer-closes-in-on-legendary-treasure-of-lima2012-8#ixzz30OkhILxR , accessed July 30, 2014. 4. Joseph Rykwert, “Why Collect?”, in History Today, Vol. 51, Issue 12, 2001. 5. Werner Muensterberger, Collecting: An Unruly Passion: Psychological Perspectives (New York: Harcourt, Brace and Company, 1994). 6. I quote Isaiah Berlin’s paraphrase in Isaiah Berlin, The Roots of Romanticism (Princeton, New Jersey: Princeton University Press, 2001), 43. 7. Timothy Morton, Hyperobjects: Philosophy and Ecology after the End of the World (Minneapolis, University of Minnesota Press, 2013), 18. 8. Ibid. 19. 41
42 B/LOGBOOK MARCH 13–MAY 5, 2014 NADIM SAMMAN AND FRANCESCA VON HABSBURG / BRADY MACDONALD / ANDREW RANVILLE
42
42 B/LOGBOOK MARCH 13–MAY 5, 2014 NADIM SAMMAN AND FRANCESCA VON HABSBURG / BRADY MACDONALD / ANDREW RANVILLE
42
1 km 44
45
1 km 44
45
SPINNING GOLFITO
Golfito, Costa Rica 8° 38' 24" N, 83° 10' 12" W
MARCH 13, 2014
smoking a cigarette next to an active fuel pump?” I hear loud and clear. The sport fishing boat that we are standing in front of is indeed being refueled, and the fool being addressed can’t stub it out quick enough. The Captain briefs us on safety—as well he might—before running us through our day’s itinerary. We’re to head for a fish-aggregating buoy some thirty miles offshore, and when we get there we’ll be able to jump in with all manner of aquatic life. It’s never been dived before. But the plan will never come to pass. An hour later, unexpectedly, the Captain hurriedly calls us onto the starboard deck. This is not normal. About two kilometers off there is something going on in the water.
T wo days ago we received news that the Dardanella’s chief stewardess
Hundreds of breaches, white water, spinning dark shapes against the
has come down with a kidney infection, and the Captain advises that
sky. This is something not many people ever see, and we’re heading
it is unwise to put to sea with her onboard. She is, apparently, going
right for it. It’s a superpod of spinner dolphins, numbering about 3000,
to be okay—but heading out into the Pacific under a cloud of medical
hunting yellowfin and skipjack tuna. Our resident naturalists tell us
uncertainty would be foolhardy. Despite our precaution, those familiar
there are only about five such superpods in the whole world and this
with seafaring literature cannot avoid considering it a bad omen.
is one.
But in the honey light of our early morning drive to the airport, down
We’re quickly into the tenders, pulling on fins and snorkels, gunning
through the hills above San Jose, trepidation subsides. We’re soon on the
it for the crowd. As we slow down and pull up into the middle of the
tarmac and faced with a twin-prop plane that looks older than a few of
group we can almost touch them. Alongside, swimming underneath,
us preparing to climb onboard. Our takeoff is quick and smooth with
crossing paths and performing spinning jumps above surface.
light beaming through the windows. Spirits lift with the plane, before
Everywhere. Overboard and face down in the water is a sight without
a shadow momentarily swings through our conversation—talk of the
compare: columns of thousands beneath us, hundreds next to us,
downed Malaysian Airlines flight, lost just a few days ago without a
the water squealing and squeaking in a chorus of sonar. The water
trace. Where did it go? How could it happen? I politely tell my colleagues
is deeper than our vision, the refractions of sunlight almost seem to
that I’m not superstitious but such talk is really beyond the pale.
emanate from the bottom of the blue. And the dolphins. I take a deep
Forty-five minutes up and over the rainforest below, training cameras on the view from the windows—until it seems we’re flying
breath and dive down into their midst, murmuring a peace offering. I can see they are looking at me. It is a good omen.
rather close to the trees. I expect we are topping a mountain ridge that will soon drop away. It doesn’t and the green grows even closer. Before there is a chance to assess what is happening we’ve already touched down on the Golfito runway, nestled tightly in an otherwise canopied valley. After five minutes’ drive we’re standing on the deck of the marina, waiting for our bags to be unloaded onto the tender. “Tell me you’re not 46
47
SPINNING GOLFITO
Golfito, Costa Rica 8° 38' 24" N, 83° 10' 12" W
MARCH 13, 2014
smoking a cigarette next to an active fuel pump?” I hear loud and clear. The sport fishing boat that we are standing in front of is indeed being refueled, and the fool being addressed can’t stub it out quick enough. The Captain briefs us on safety—as well he might—before running us through our day’s itinerary. We’re to head for a fish-aggregating buoy some thirty miles offshore, and when we get there we’ll be able to jump in with all manner of aquatic life. It’s never been dived before. But the plan will never come to pass. An hour later, unexpectedly, the Captain hurriedly calls us onto the starboard deck. This is not normal. About two kilometers off there is something going on in the water.
T wo days ago we received news that the Dardanella’s chief stewardess
Hundreds of breaches, white water, spinning dark shapes against the
has come down with a kidney infection, and the Captain advises that
sky. This is something not many people ever see, and we’re heading
it is unwise to put to sea with her onboard. She is, apparently, going
right for it. It’s a superpod of spinner dolphins, numbering about 3000,
to be okay—but heading out into the Pacific under a cloud of medical
hunting yellowfin and skipjack tuna. Our resident naturalists tell us
uncertainty would be foolhardy. Despite our precaution, those familiar
there are only about five such superpods in the whole world and this
with seafaring literature cannot avoid considering it a bad omen.
is one.
But in the honey light of our early morning drive to the airport, down
We’re quickly into the tenders, pulling on fins and snorkels, gunning
through the hills above San Jose, trepidation subsides. We’re soon on the
it for the crowd. As we slow down and pull up into the middle of the
tarmac and faced with a twin-prop plane that looks older than a few of
group we can almost touch them. Alongside, swimming underneath,
us preparing to climb onboard. Our takeoff is quick and smooth with
crossing paths and performing spinning jumps above surface.
light beaming through the windows. Spirits lift with the plane, before
Everywhere. Overboard and face down in the water is a sight without
a shadow momentarily swings through our conversation—talk of the
compare: columns of thousands beneath us, hundreds next to us,
downed Malaysian Airlines flight, lost just a few days ago without a
the water squealing and squeaking in a chorus of sonar. The water
trace. Where did it go? How could it happen? I politely tell my colleagues
is deeper than our vision, the refractions of sunlight almost seem to
that I’m not superstitious but such talk is really beyond the pale.
emanate from the bottom of the blue. And the dolphins. I take a deep
Forty-five minutes up and over the rainforest below, training cameras on the view from the windows—until it seems we’re flying
breath and dive down into their midst, murmuring a peace offering. I can see they are looking at me. It is a good omen.
rather close to the trees. I expect we are topping a mountain ridge that will soon drop away. It doesn’t and the green grows even closer. Before there is a chance to assess what is happening we’ve already touched down on the Golfito runway, nestled tightly in an otherwise canopied valley. After five minutes’ drive we’re standing on the deck of the marina, waiting for our bags to be unloaded onto the tender. “Tell me you’re not 46
47
A superpod of spinner dolphins
49
A superpod of spinner dolphins
49
A GEOGRAPHIC OUTLIER
En route to Cocos Island
MARCH 14, 2014
But the island’s geography has better claims on notability. What is visible above water is only the peak of the Cocos ridge, which runs twenty-four kilometers towards the mainland. On either side below the surface the bottom drops off into chasms 4000 meters deep. For this reason, a huge amount of marine life aggregates around Cocos. The island was designated a national park in 1978 but its waters would only become a protected area in 1995. At present the reserve comprises a twelve mile perimeter—amounting to 200 square miles. There are plans to extend this sanctuary to a twenty mile radius. At the time of writing there are five rangers resident on the island, out of the park’s
EN ROUTE /
official staff of twenty. In addition to this there are always one or two coast guard officials on hand to take part in the rangers’ patrols.
C ocos Island lies 310 miles south of Costa Rica and 497 miles west of
In 1997 Cocos was declared a UNESCO World Heritage Site,
Panama—two days hard sail from the sweltering port of Golfito. Jut-
ensuring the international recognition of its natural heritage. But its
ting up from the Pacific deep, it covers just 9.2 of the 64 million square
strategic value for Costa Rica is more prosaic. Ownership of Cocos
miles that make up this ocean. Part of a volcanic chain that includes
justifies the state’s claim on fishing grounds above the total area of
the Galapagos—its waters teaming with hammerhead sharks—it was
the ridge. As ever, the balance between conservation and exploitation
officially discovered in 1535 by Spanish explorers before settling into
is a precarious one.
its role as a pit stop for buccaneers and whalers in search of fresh water and the coconuts from which it takes its name. Cocos Island’s history as a sometime base for rascals has much to do with its geography. Close enough to the mainland yet lying outside major imperial trade routes—to this day, off the beaten shipping path— it is a strategic location for those who would remain unseen but not out of the game. Today the waters surrounding the island are used by a new breed of outlaw—narco-traffickers in superpowered black speedboats, and even the odd Columbian cocaine submarine. This is the impetus behind two of Cocos Island’s newest permanent structures—antennas that register and transmit intelligence as part of a string of stations in the region. Coincidentally, while digging their 4sqm foundations, the park’s authorities uncovered the long lost basement of a prison, built in 1879 to house earlier generations of miscreants but later left to ruin due to the logistical and financial challenges of running a facility so far from the mainland. 50
51
A GEOGRAPHIC OUTLIER
En route to Cocos Island
MARCH 14, 2014
But the island’s geography has better claims on notability. What is visible above water is only the peak of the Cocos ridge, which runs twenty-four kilometers towards the mainland. On either side below the surface the bottom drops off into chasms 4000 meters deep. For this reason, a huge amount of marine life aggregates around Cocos. The island was designated a national park in 1978 but its waters would only become a protected area in 1995. At present the reserve comprises a twelve mile perimeter—amounting to 200 square miles. There are plans to extend this sanctuary to a twenty mile radius. At the time of writing there are five rangers resident on the island, out of the park’s
EN ROUTE /
official staff of twenty. In addition to this there are always one or two coast guard officials on hand to take part in the rangers’ patrols.
C ocos Island lies 310 miles south of Costa Rica and 497 miles west of
In 1997 Cocos was declared a UNESCO World Heritage Site,
Panama—two days hard sail from the sweltering port of Golfito. Jut-
ensuring the international recognition of its natural heritage. But its
ting up from the Pacific deep, it covers just 9.2 of the 64 million square
strategic value for Costa Rica is more prosaic. Ownership of Cocos
miles that make up this ocean. Part of a volcanic chain that includes
justifies the state’s claim on fishing grounds above the total area of
the Galapagos—its waters teaming with hammerhead sharks—it was
the ridge. As ever, the balance between conservation and exploitation
officially discovered in 1535 by Spanish explorers before settling into
is a precarious one.
its role as a pit stop for buccaneers and whalers in search of fresh water and the coconuts from which it takes its name. Cocos Island’s history as a sometime base for rascals has much to do with its geography. Close enough to the mainland yet lying outside major imperial trade routes—to this day, off the beaten shipping path— it is a strategic location for those who would remain unseen but not out of the game. Today the waters surrounding the island are used by a new breed of outlaw—narco-traffickers in superpowered black speedboats, and even the odd Columbian cocaine submarine. This is the impetus behind two of Cocos Island’s newest permanent structures—antennas that register and transmit intelligence as part of a string of stations in the region. Coincidentally, while digging their 4sqm foundations, the park’s authorities uncovered the long lost basement of a prison, built in 1879 to house earlier generations of miscreants but later left to ruin due to the logistical and financial challenges of running a facility so far from the mainland. 50
51
52
53
52
53
Cocos Island, Costa Rica
LANDFALL
5° 31' 45" N, 87° 3' 36" W
MARCH 15, 2014
The rangers are our biggest wildcard, and while we must—to a degree—rely on them as guides, if they know too much about the burial location then the security of the treasure is questionable. “They will go for it. A hundred percent: You cannot trust anybody,” says one of our number. “Not even F trusts anyone. Because they’re here all day long, they have so much free time—sooner or later they’ll go looking for it out of boredom, at the very least. F doesn’t want to be the person who knows where it is. Perhaps he doesn’t trust himself. He also doesn’t want responsibility, because he knows that it will probably disappear.” In pirate tales those who do the hard job of carrying the treasure to
At 5am the engine cuts and we wake at the cusp of dawn. A few strides
its burial location are usually murdered when the job is done—leaving
to the prow of the Dardanella for a first glimpse of Cocos Island.
ghosts to guard the secret. We need a more realistic option. “I’m sure
Breaking through the crepuscular haze it looks like a sleeping animal.
we need a second version of the chest—a decoy that we can let the
As the sun ascends we can better make out its steep faces, one with a
rangers know about,” says N.
zig-zag path to its summit. This is the lowest aspect of Cocos. On the
After a wet landfall at Wafer Bay and midway through a three
far side it peaks at 700 meters, generating its own weather system and
hour jungle recce up steep mud slopes, talk again turns to secrecy.
supporting the only cloud forest in the whole Pacific. Carsten Nicolai is
N tells me that our preferred biological observer—who would be on
busy with both digital and Polaroid. Yesterday morning, in practice for
hand when the caper is afoot to ensure that we do not damage the
today, he woke at the same time to experiment with exposures.
environment—has been ruled out by the park authority. Instead we are
At 9am a skiff carrying three rangers approaches us. They pull up
to have one from the ranger station. The plot thickens. My thoughts
alongside and two climb on board. One looks unassuming. The other
are drawn to the increasingly paranoiac aspect of our project, and
is bald and muscled with a deep tan the color of teak and piercing
the unexpected social dynamics emerging between colleagues and
green eyes. The third, who stays in the skiff, wears a necklace of
collaborators. If we are performing any aspects of “pirate character”
what looks like curved teeth—pig tusks?—and a large knife in a black
through this endeavor then shiftiness and suspicion are certainly
sheath strapped to his right calf. As we present our passports to his
among them. It is this mindset that underpins the strangest of notions:
colleagues for inspection he lights a cigarette and lets it hang beneath
Rangers turned buccaneers—gamekeepers turned poachers. Later,
his moustache.
onboard the Dardanella, I have to wonder if we are still at anchor or
After being briefed on tiger sharks and the danger of falling
getting carried away.
coconuts they leave, and talk turns to places where we might bury our treasure. I like the look of the ravines, and we espy caves and coves on the water line. We discuss circumnavigating the island, to get a better understanding of its features. Markus is convinced that whatever we do must be difficult, some kind of pilgrimage or penance as well as a counter-surveillance exercise. I’m inclined to agree. 54
55
Cocos Island, Costa Rica
LANDFALL
5° 31' 45" N, 87° 3' 36" W
MARCH 15, 2014
The rangers are our biggest wildcard, and while we must—to a degree—rely on them as guides, if they know too much about the burial location then the security of the treasure is questionable. “They will go for it. A hundred percent: You cannot trust anybody,” says one of our number. “Not even F trusts anyone. Because they’re here all day long, they have so much free time—sooner or later they’ll go looking for it out of boredom, at the very least. F doesn’t want to be the person who knows where it is. Perhaps he doesn’t trust himself. He also doesn’t want responsibility, because he knows that it will probably disappear.” In pirate tales those who do the hard job of carrying the treasure to
At 5am the engine cuts and we wake at the cusp of dawn. A few strides
its burial location are usually murdered when the job is done—leaving
to the prow of the Dardanella for a first glimpse of Cocos Island.
ghosts to guard the secret. We need a more realistic option. “I’m sure
Breaking through the crepuscular haze it looks like a sleeping animal.
we need a second version of the chest—a decoy that we can let the
As the sun ascends we can better make out its steep faces, one with a
rangers know about,” says N.
zig-zag path to its summit. This is the lowest aspect of Cocos. On the
After a wet landfall at Wafer Bay and midway through a three
far side it peaks at 700 meters, generating its own weather system and
hour jungle recce up steep mud slopes, talk again turns to secrecy.
supporting the only cloud forest in the whole Pacific. Carsten Nicolai is
N tells me that our preferred biological observer—who would be on
busy with both digital and Polaroid. Yesterday morning, in practice for
hand when the caper is afoot to ensure that we do not damage the
today, he woke at the same time to experiment with exposures.
environment—has been ruled out by the park authority. Instead we are
At 9am a skiff carrying three rangers approaches us. They pull up
to have one from the ranger station. The plot thickens. My thoughts
alongside and two climb on board. One looks unassuming. The other
are drawn to the increasingly paranoiac aspect of our project, and
is bald and muscled with a deep tan the color of teak and piercing
the unexpected social dynamics emerging between colleagues and
green eyes. The third, who stays in the skiff, wears a necklace of
collaborators. If we are performing any aspects of “pirate character”
what looks like curved teeth—pig tusks?—and a large knife in a black
through this endeavor then shiftiness and suspicion are certainly
sheath strapped to his right calf. As we present our passports to his
among them. It is this mindset that underpins the strangest of notions:
colleagues for inspection he lights a cigarette and lets it hang beneath
Rangers turned buccaneers—gamekeepers turned poachers. Later,
his moustache.
onboard the Dardanella, I have to wonder if we are still at anchor or
After being briefed on tiger sharks and the danger of falling
getting carried away.
coconuts they leave, and talk turns to places where we might bury our treasure. I like the look of the ravines, and we espy caves and coves on the water line. We discuss circumnavigating the island, to get a better understanding of its features. Markus is convinced that whatever we do must be difficult, some kind of pilgrimage or penance as well as a counter-surveillance exercise. I’m inclined to agree. 54
55
March 14, 2014
57
March 14, 2014
57
C hatham Bay affords perhaps the least impressive aspect of Cocos. Relative to the wave-rocked faces of its further coast, it seems contained. This might seem an ungrateful thought on the part of someone more used to spending time in city subways, but today’s circumnavigation of the island by skiff justifies it. Following the coastline westward, rocky ramparts crowned with the knotted roots of trees and vines abound. Projections upward grow more pronounced until they seem improbable, cut up by waterfalls running directly into the ocean. Caves split its many faces along the water’s edge and blowholes spew white back out towards the horizon. There are beaches, of a kind—but so exposed that landing is impossible due to surges of churning water and oversize boulders of granite below the surface. Hidden coves and tight valleys move inland at acute angles. The gaze may want to put ashore and explore, but the island’s true nature resists. On steep islets there are scruffs of palm trees, offshore pillars of rock that could be Merlin’s teeth. The further we travel the more jut skywards. Again and again, waterfalls—beginning hundreds of meters above, falling fifty, hitting rocks before taking another step down towards the breakers. The batteries in our cameras run out before we can capture the least of these impressions. Even with spares they could never be enough. Then the rain. Back in Chatham Bay I see the practical reason for its historical importance. Putting ashore almost everywhere else is extremely difficult. So what of our enterprise? We have a few new ideas… . 58
59
LEFT: Bahía Iglesias, Isla del Coco
Cocos Island, Costa Rica
THE RAMPARTS
5° 31' 45" N, 87° 3' 36" W
MARCH 16, 2014
C hatham Bay affords perhaps the least impressive aspect of Cocos. Relative to the wave-rocked faces of its further coast, it seems contained. This might seem an ungrateful thought on the part of someone more used to spending time in city subways, but today’s circumnavigation of the island by skiff justifies it. Following the coastline westward, rocky ramparts crowned with the knotted roots of trees and vines abound. Projections upward grow more pronounced until they seem improbable, cut up by waterfalls running directly into the ocean. Caves split its many faces along the water’s edge and blowholes spew white back out towards the horizon. There are beaches, of a kind—but so exposed that landing is impossible due to surges of churning water and oversize boulders of granite below the surface. Hidden coves and tight valleys move inland at acute angles. The gaze may want to put ashore and explore, but the island’s true nature resists. On steep islets there are scruffs of palm trees, offshore pillars of rock that could be Merlin’s teeth. The further we travel the more jut skywards. Again and again, waterfalls—beginning hundreds of meters above, falling fifty, hitting rocks before taking another step down towards the breakers. The batteries in our cameras run out before we can capture the least of these impressions. Even with spares they could never be enough. Then the rain. Back in Chatham Bay I see the practical reason for its historical importance. Putting ashore almost everywhere else is extremely difficult. So what of our enterprise? We have a few new ideas… . 58
59
LEFT: Bahía Iglesias, Isla del Coco
Cocos Island, Costa Rica
THE RAMPARTS
5° 31' 45" N, 87° 3' 36" W
MARCH 16, 2014
61
61
Image caption, one to five lines long, two to five lines long, three to five lines long
63
Image caption, one to five lines long, two to five lines long, three to five lines long
63
Cocos Island, Costa Rica
COCOS ISLAND IS THE TREASURE FRANCESCA VON HABSBURG
5° 31' 45" N, 87° 3' 36" W
MARCH 17, 2014
cloud forest! Totally different vegetation… . Two eco systems on one island! This place is a world unto itself. Is there still a treasure here? Who knows? My feeling is that it must have been collected by the pirates themselves at that time. It feels like an old story, not a new one. I don’t get the feeling that treasure lingers very long and Cocos was a popular place for these guys. All the more reason to bury a contemporary treasure here. It feels like the right time to reignite people’s fantasies again. Today we took a trip round the island with Pepe, looking for possible sites to bury our treasure. He is absolutely convinced there is still at least one treasure,
H aving ventured onto Cocos’ shores we are all bewildered by its face
but something tells me this is a tired old marketing tool. He was part
that tells a million stories from Robinson Crusoe, Treasure Island and
of the last team of treasure hunters who had dug up the great great
20,000 Leagues Under the Sea, amongst many others… . The visual
grandson of Thompson who apparently had an inherited map. They
connection is incredible. There is no doubt in our minds that this is the
followed the map and found all the carved arrow indicators, except the
home of the legends that have fascinated us all since were children. As
last, which had rolled down the slope in another one of the numerous
we reach the island during the dry season we can see her clearly—her
landslides which are often blamed for burying the treasures over
shores are calm and indeed fantastic, and the odd fin on the water
and over again. Like so many other expeditions, he reported that they
prepares us for what we will inevitably find below.
had the wrong equipment, or not enough of it. Pepe also made the
We approach a bay which was in the opening shot of Jurassic Park.
interesting point that anyone who buries treasure intends to come
It is easy to see the island’s movie set appeal. However, the dry season
back and recuperate it within their lifetime. So it must be well hidden
is short, and the rest of the time one has to imagine it very cloudy,
but within swift access and good reach. The interesting thing is that
rainy and stormy—enough to keep even the most intrepid travelers
we don’t plan to come back and reclaim our bounty, so the question is,
at bay. There is no jetty, and as we approached Wafer Bay for a wet
should we follow the same rules? In the old times the men that were
landing a black tip shark approached the boat… . I didn’t jump in until
taken to carry and bury the treasures more often than not had their
there were plenty of other legs already in the water.
throats cut for their pains, to keep the secret safe. Will we resist killing
A walk up to a waterfall takes an hour along a treacherous path,
each other to keep the final hiding place of the art treasure a secret
clearly well traveled, even if it’s off limits due to recent landslides. It
or will we have to trust one another (and the rangers, which is another
was a dangerous and exhausting route in the heat. The prize at the end
question all together)? For starters I may make Nadim walk the plank
of the climb is spectacular—and there is a cool and refreshing swim to
as he forgot to bring hiking shoes, and is scouting for possible sites in
be had under the falls. But it does give you a taste of the terrain, and
his fake Dolce & Gabbanas… .
how difficult it can be to cross the island. The other walk up to the summit takes four hours each way and is possibly attempted no more than a dozen times a year. Not something for me, with my recently broken toe, but apparently when you get there you find yourself in a 64
65
Cocos Island, Costa Rica
COCOS ISLAND IS THE TREASURE FRANCESCA VON HABSBURG
5° 31' 45" N, 87° 3' 36" W
MARCH 17, 2014
cloud forest! Totally different vegetation… . Two eco systems on one island! This place is a world unto itself. Is there still a treasure here? Who knows? My feeling is that it must have been collected by the pirates themselves at that time. It feels like an old story, not a new one. I don’t get the feeling that treasure lingers very long and Cocos was a popular place for these guys. All the more reason to bury a contemporary treasure here. It feels like the right time to reignite people’s fantasies again. Today we took a trip round the island with Pepe, looking for possible sites to bury our treasure. He is absolutely convinced there is still at least one treasure,
H aving ventured onto Cocos’ shores we are all bewildered by its face
but something tells me this is a tired old marketing tool. He was part
that tells a million stories from Robinson Crusoe, Treasure Island and
of the last team of treasure hunters who had dug up the great great
20,000 Leagues Under the Sea, amongst many others… . The visual
grandson of Thompson who apparently had an inherited map. They
connection is incredible. There is no doubt in our minds that this is the
followed the map and found all the carved arrow indicators, except the
home of the legends that have fascinated us all since were children. As
last, which had rolled down the slope in another one of the numerous
we reach the island during the dry season we can see her clearly—her
landslides which are often blamed for burying the treasures over
shores are calm and indeed fantastic, and the odd fin on the water
and over again. Like so many other expeditions, he reported that they
prepares us for what we will inevitably find below.
had the wrong equipment, or not enough of it. Pepe also made the
We approach a bay which was in the opening shot of Jurassic Park.
interesting point that anyone who buries treasure intends to come
It is easy to see the island’s movie set appeal. However, the dry season
back and recuperate it within their lifetime. So it must be well hidden
is short, and the rest of the time one has to imagine it very cloudy,
but within swift access and good reach. The interesting thing is that
rainy and stormy—enough to keep even the most intrepid travelers
we don’t plan to come back and reclaim our bounty, so the question is,
at bay. There is no jetty, and as we approached Wafer Bay for a wet
should we follow the same rules? In the old times the men that were
landing a black tip shark approached the boat… . I didn’t jump in until
taken to carry and bury the treasures more often than not had their
there were plenty of other legs already in the water.
throats cut for their pains, to keep the secret safe. Will we resist killing
A walk up to a waterfall takes an hour along a treacherous path,
each other to keep the final hiding place of the art treasure a secret
clearly well traveled, even if it’s off limits due to recent landslides. It
or will we have to trust one another (and the rangers, which is another
was a dangerous and exhausting route in the heat. The prize at the end
question all together)? For starters I may make Nadim walk the plank
of the climb is spectacular—and there is a cool and refreshing swim to
as he forgot to bring hiking shoes, and is scouting for possible sites in
be had under the falls. But it does give you a taste of the terrain, and
his fake Dolce & Gabbanas… .
how difficult it can be to cross the island. The other walk up to the summit takes four hours each way and is possibly attempted no more than a dozen times a year. Not something for me, with my recently broken toe, but apparently when you get there you find yourself in a 64
65
Image caption, one to five lines long, two to five lines
66
67
Image caption, one to five lines long, two to five lines
66
67
Cocos Island, Costa Rica
THE RAT RUN
5° 31' 45" N, 87° 3' 36" W
MARCH 17, 2014
I put in the most convincing breaststroke of my life, towards the skiff. I won’t be the last, most available human morsel in this tropical soup. Others follow. Later the skiff puts up at a headland, close to a hidden crook of bay. Pepe puts its nose close to a slab of crabby stone and I jump. There’s a rat-run up the face, to reach the green and check the top terrain. I pull leaves away to gain hand holds, climbing slow and steady. It takes a little work to push the hanging roots aside, but soon I’ve made it under the canopy. I step over small boulders and head for the space beneath a large tree. There is soil here—enough to bury a treasure. I call out to the boat and consider jumping out and into the
It’s one thing circling Cocos by skiff, quite another to land. Everything
blue. They yell for me to go back the way I came.
looks smaller than it really is until your feet touch down. We skirt the southern coast in search of suitable shoreline, all the while watching out for granite wreckers below the surface. Pepe maneuvers the skiff slowly, with a lifetime of skill—a little throttle, some reverse—until we are close enough. A dive from the side and into the water makes us realize that we’re further from shore than we hoped. We make strokes to catch the surge and ride the swell to its rocky edge. Lumps of stone roll against one other in the surf—thuds and muffled cracks. Careful steps to avoid snapped ankles or caught toes are challenged by algae and loose rocks. On the jungle’s fringe it’s hard not to entertain the vain thought that no person has ever climbed these lianas, worked the slippery ascent through this watercourse, up towards an unnamed promontory. We’ve made it thus far in bad shoes, more or less unclothed, and cutting back towards shore would be a waste of the afternoon. But our backs are stroked by tropical ferns, and what begins as an itch soon becomes a burn. Our crawling climb through the green tunnel continues, until it hurts to consider the touch of any new plant. Our Captain is better prepared—a knife strapped to his leg and, most importantly, wearing a rash vest—so no surprises for him. We’ve had enough. I wait for the wave to draw out from the beach and quickly follow it, clambering onto a boulder before it returns. When it does I dive out behind the wash, into the shallow water owned by local tiger sharks—seen, firsthand, today by the divers in our number. 68
69
Cocos Island, Costa Rica
THE RAT RUN
5° 31' 45" N, 87° 3' 36" W
MARCH 17, 2014
I put in the most convincing breaststroke of my life, towards the skiff. I won’t be the last, most available human morsel in this tropical soup. Others follow. Later the skiff puts up at a headland, close to a hidden crook of bay. Pepe puts its nose close to a slab of crabby stone and I jump. There’s a rat-run up the face, to reach the green and check the top terrain. I pull leaves away to gain hand holds, climbing slow and steady. It takes a little work to push the hanging roots aside, but soon I’ve made it under the canopy. I step over small boulders and head for the space beneath a large tree. There is soil here—enough to bury a treasure. I call out to the boat and consider jumping out and into the
It’s one thing circling Cocos by skiff, quite another to land. Everything
blue. They yell for me to go back the way I came.
looks smaller than it really is until your feet touch down. We skirt the southern coast in search of suitable shoreline, all the while watching out for granite wreckers below the surface. Pepe maneuvers the skiff slowly, with a lifetime of skill—a little throttle, some reverse—until we are close enough. A dive from the side and into the water makes us realize that we’re further from shore than we hoped. We make strokes to catch the surge and ride the swell to its rocky edge. Lumps of stone roll against one other in the surf—thuds and muffled cracks. Careful steps to avoid snapped ankles or caught toes are challenged by algae and loose rocks. On the jungle’s fringe it’s hard not to entertain the vain thought that no person has ever climbed these lianas, worked the slippery ascent through this watercourse, up towards an unnamed promontory. We’ve made it thus far in bad shoes, more or less unclothed, and cutting back towards shore would be a waste of the afternoon. But our backs are stroked by tropical ferns, and what begins as an itch soon becomes a burn. Our crawling climb through the green tunnel continues, until it hurts to consider the touch of any new plant. Our Captain is better prepared—a knife strapped to his leg and, most importantly, wearing a rash vest—so no surprises for him. We’ve had enough. I wait for the wave to draw out from the beach and quickly follow it, clambering onto a boulder before it returns. When it does I dive out behind the wash, into the shallow water owned by local tiger sharks—seen, firsthand, today by the divers in our number. 68
69
71
71
Cocos Island, Costa Rica
GISSLER'S TUNNELS
5° 31' 45" N, 87° 3' 36" W
MARCH 18, 2014
Is there an image of Gissler's tunnels?
Most treasure seekers on Cocos went ashore for a couple of weeks. One man stuck it out. August Gissler was 31 years old when he came to the island in 1888, 67 years after Thompson’s unlawful requisition of the Treasure of Lima. As the writer Alex Capus reports, this was forty years since the first treasure maps had come into circulation and nine years after Robert Louis Stevenson read of an unsuccessful expedition to Cocos in the San Francisco Call. Gissler stayed for nearly twenty years, all the while searching for the treasure. Giving up on life in the family knife manufacturing business, after coming into possession of a map whose veracity he never doubted, Gissler’s first expedition lasted six months—during which time a number of his shareholders pulled out. Undaunted after returning empty-handed, his drive increased. In May of 1894 Costa Rica elected a thirty-two year old president in the form of Rafael Yglesias Castro, with whom the treasure hunter obtained an audience some months later. Castro granted Gissler personal ownership of the western half of the island—where the treasure was assumed to be buried. In recognition of his munificence, the highest peak of the island bears his name. The eastern part was to be divided into parcels of land and granted to German settlers to be recruited by Gissler—who would engage in farming. In due course six families followed him to the island and the President granted him Costa Rican citizenship and the title of Governor. At its most populous, Gissler’s colony numbered fifty. But they would not stay. 72
73
Cocos Island, Costa Rica
GISSLER'S TUNNELS
5° 31' 45" N, 87° 3' 36" W
MARCH 18, 2014
Is there an image of Gissler's tunnels?
Most treasure seekers on Cocos went ashore for a couple of weeks. One man stuck it out. August Gissler was 31 years old when he came to the island in 1888, 67 years after Thompson’s unlawful requisition of the Treasure of Lima. As the writer Alex Capus reports, this was forty years since the first treasure maps had come into circulation and nine years after Robert Louis Stevenson read of an unsuccessful expedition to Cocos in the San Francisco Call. Gissler stayed for nearly twenty years, all the while searching for the treasure. Giving up on life in the family knife manufacturing business, after coming into possession of a map whose veracity he never doubted, Gissler’s first expedition lasted six months—during which time a number of his shareholders pulled out. Undaunted after returning empty-handed, his drive increased. In May of 1894 Costa Rica elected a thirty-two year old president in the form of Rafael Yglesias Castro, with whom the treasure hunter obtained an audience some months later. Castro granted Gissler personal ownership of the western half of the island—where the treasure was assumed to be buried. In recognition of his munificence, the highest peak of the island bears his name. The eastern part was to be divided into parcels of land and granted to German settlers to be recruited by Gissler—who would engage in farming. In due course six families followed him to the island and the President granted him Costa Rican citizenship and the title of Governor. At its most populous, Gissler’s colony numbered fifty. But they would not stay. 72
73
August Gissler Private archive
“The German settlers had been hoping for a better life as prosperous plantation owners in the eternal southern sun. Their daily existence on the island soon disabused them of that idea. While August Gissler dug for treasure, the men of the colony strove to grow potatoes and maize in the muddy soil and their womenfolk defended their shacks and infants against rats and insects. Within a few months the first settlers had had enough and returned to the mainland with the supply ship. Three years later the three last families departed, and because the supply ship discontinued its visits in December 1898 August and Clara Gissler spent nearly two years alone on Cocos Island,” writes Capus. If any further proof were necessary, Gissler’s maniacal deter mination is evidenced by his tunnels, upstream from Wafer Bay—dug into the side of a steep slope. Now closed to the public, the closest thing to an access route takes us up slippery inclines strewn with
submission. They laid down what arms they had and peace was
rotting logs, interrupted by sheer drops. As we descend into the black
restored. But the incident induced me to ship the whole caboodle
we grab at the walls for security. The sodden earth breaks off to the
away.”
touch and the fear of collapse is real. The tunnel hairpins upwards, necessitating a messy climb, before emerging—eventually—on another level. We surface muddied and relieved to be sweating outside in the
“You are Governor, General, Colonel, and the whole army, as well as Lord High Executioner, Judge, jury and undertaker?” “Everything, I suppose. I have to be.”
broken jungle sun. It is one of three on this slope—all of which Gissler dug alone. In November of 1904 Gissler was interviewed by the New York Times on the nature of his dominion over the island. By this stage he was a Governor with no subjects. In the article the tenor of the man comes across most clearly: “Why don’t you import some labor?” “I took out eighteen Germans once, with their families, and thought they would raise great crops and all get rich, but in a short time they raised an insurrection instead.” “What became of the insurrection?” “I quelled it.” “Tell me how.” “I declared martial law, as Governor of the island, and with my big pistols pointed in the faces of the Germans I scared them into 74
75
August Gissler Private archive
“The German settlers had been hoping for a better life as prosperous plantation owners in the eternal southern sun. Their daily existence on the island soon disabused them of that idea. While August Gissler dug for treasure, the men of the colony strove to grow potatoes and maize in the muddy soil and their womenfolk defended their shacks and infants against rats and insects. Within a few months the first settlers had had enough and returned to the mainland with the supply ship. Three years later the three last families departed, and because the supply ship discontinued its visits in December 1898 August and Clara Gissler spent nearly two years alone on Cocos Island,” writes Capus. If any further proof were necessary, Gissler’s maniacal deter mination is evidenced by his tunnels, upstream from Wafer Bay—dug into the side of a steep slope. Now closed to the public, the closest thing to an access route takes us up slippery inclines strewn with
submission. They laid down what arms they had and peace was
rotting logs, interrupted by sheer drops. As we descend into the black
restored. But the incident induced me to ship the whole caboodle
we grab at the walls for security. The sodden earth breaks off to the
away.”
touch and the fear of collapse is real. The tunnel hairpins upwards, necessitating a messy climb, before emerging—eventually—on another level. We surface muddied and relieved to be sweating outside in the
“You are Governor, General, Colonel, and the whole army, as well as Lord High Executioner, Judge, jury and undertaker?” “Everything, I suppose. I have to be.”
broken jungle sun. It is one of three on this slope—all of which Gissler dug alone. In November of 1904 Gissler was interviewed by the New York Times on the nature of his dominion over the island. By this stage he was a Governor with no subjects. In the article the tenor of the man comes across most clearly: “Why don’t you import some labor?” “I took out eighteen Germans once, with their families, and thought they would raise great crops and all get rich, but in a short time they raised an insurrection instead.” “What became of the insurrection?” “I quelled it.” “Tell me how.” “I declared martial law, as Governor of the island, and with my big pistols pointed in the faces of the Germans I scared them into 74
75
77
77
Cocos Island, Costa Rica
THE LAST AND FIRST
5° 31' 45" N, 87° 3' 36" W
MARCH 19, 2014
Ministry of Defence in the fight against narco-trafficking through Costa Rican waters. Recognizing the park’s acceptance of this fait accompli, the ministry will give the rangers real-time data—so they can identify encroaching fishing boats. Once they are aware that a vessel is operating near Cocos, I imagine the rangers will get into the salvaged Columbian narco-speedboat anchored outside their station— abandoned by its original owners after military pursuit—and chase the fishers down. “Not so,” replies N, “they don’t like confrontation.” The stones of Chatham Bay are inscribed with the names of boats and dates stretching back hundreds of years. Among of the more
E ven at 7am the weather is muggy. Off the skiff at Wafer Bay and
recent carvings, one of the most notable is a large seal-like design by
through the grounds of the ranger station, Victor, who wears the
Jaques Cousteau. Where a stream meets the bay the dates stretch
muscles, cap, and camo outfit of a jungle mercenary, meets us in his
back further, into last great age of exploration and the birth of the
own time. He’s to guide us over the ridge to Chatham, but not before
novel. Our skiff pilot Pepe guides us towards one rock in particular,
the arrival of some unexpected additions to our hiking party: A lady
on whose top a small arrow appears. This, he recounts, is one of the
in a prim but shady hat, who we recognize as the ranger’s Human
markings that the last official treasure hunting expedition sought in
Resources functionary by the embroidered title on her shirt; a young
1985—an enterprise in which he took part as a young man. One of three
man called Leonardo who has been on the island for a week taking
that would indicate the place to excavate by triangulation, another one
samples from watercourses, along with the manager of the park. It
was found and the position of the third calculated. Weeks of digging
seems we provide a good excuse to escape whatever else they might
in the sand followed, hampered by flooding tides, before their tools
be doing.
were incapable of reaching further depths. They recovered some
The climb is steep but the exposed roots of trees make footholds.
iron hinges and wood that—their Japanese archaeologist surmised
Where the incline is acute the rangers have strung what passes for
through microscopic analysis—was typical for chests of the time. That,
rope between the trunks. In a former life the cords were packing
and a large gold chain. But their calculations quelled further hope of
sundries, now they hang flaccid and rotten. I think better of relying
reaching the trove, as they realized that the weight of gold versus sand
on them and put my hands into the dirt. The top forest sits on a small
meant it must be much further down. The expedition was called off
plateau, where the mud has been churned by wild pigs first introduced
and the hunters vowed to return with bigger machines. But it would
by whalers as breeding stock—so they might be caught another day to
never happen. Shortly thereafter the Costa Rican government banned
replenish supplies after weeks at sea.
treasure hunting—a moratorium that stands to this day. Pepe wouldn’t
Further on, iron trees push up the sun and we learn that a twenty-
return to Cocos for nine more years, eventually taking a job with a dive
five meter tall antenna will be built next to the biggest of them. I
charter company. He has come back ever since. Now this last of Cocos’
protest that it is a great shame, and Victor pinches my shoulder
treasure hunters is on the other side of the table—an integral part of
in a way that fuses the paternal and passive-aggressive: “Not as
our burial team.
much as the fishing.” The antenna has been commissioned by the 78
79
Cocos Island, Costa Rica
THE LAST AND FIRST
5° 31' 45" N, 87° 3' 36" W
MARCH 19, 2014
Ministry of Defence in the fight against narco-trafficking through Costa Rican waters. Recognizing the park’s acceptance of this fait accompli, the ministry will give the rangers real-time data—so they can identify encroaching fishing boats. Once they are aware that a vessel is operating near Cocos, I imagine the rangers will get into the salvaged Columbian narco-speedboat anchored outside their station— abandoned by its original owners after military pursuit—and chase the fishers down. “Not so,” replies N, “they don’t like confrontation.” The stones of Chatham Bay are inscribed with the names of boats and dates stretching back hundreds of years. Among of the more
E ven at 7am the weather is muggy. Off the skiff at Wafer Bay and
recent carvings, one of the most notable is a large seal-like design by
through the grounds of the ranger station, Victor, who wears the
Jaques Cousteau. Where a stream meets the bay the dates stretch
muscles, cap, and camo outfit of a jungle mercenary, meets us in his
back further, into last great age of exploration and the birth of the
own time. He’s to guide us over the ridge to Chatham, but not before
novel. Our skiff pilot Pepe guides us towards one rock in particular,
the arrival of some unexpected additions to our hiking party: A lady
on whose top a small arrow appears. This, he recounts, is one of the
in a prim but shady hat, who we recognize as the ranger’s Human
markings that the last official treasure hunting expedition sought in
Resources functionary by the embroidered title on her shirt; a young
1985—an enterprise in which he took part as a young man. One of three
man called Leonardo who has been on the island for a week taking
that would indicate the place to excavate by triangulation, another one
samples from watercourses, along with the manager of the park. It
was found and the position of the third calculated. Weeks of digging
seems we provide a good excuse to escape whatever else they might
in the sand followed, hampered by flooding tides, before their tools
be doing.
were incapable of reaching further depths. They recovered some
The climb is steep but the exposed roots of trees make footholds.
iron hinges and wood that—their Japanese archaeologist surmised
Where the incline is acute the rangers have strung what passes for
through microscopic analysis—was typical for chests of the time. That,
rope between the trunks. In a former life the cords were packing
and a large gold chain. But their calculations quelled further hope of
sundries, now they hang flaccid and rotten. I think better of relying
reaching the trove, as they realized that the weight of gold versus sand
on them and put my hands into the dirt. The top forest sits on a small
meant it must be much further down. The expedition was called off
plateau, where the mud has been churned by wild pigs first introduced
and the hunters vowed to return with bigger machines. But it would
by whalers as breeding stock—so they might be caught another day to
never happen. Shortly thereafter the Costa Rican government banned
replenish supplies after weeks at sea.
treasure hunting—a moratorium that stands to this day. Pepe wouldn’t
Further on, iron trees push up the sun and we learn that a twenty-
return to Cocos for nine more years, eventually taking a job with a dive
five meter tall antenna will be built next to the biggest of them. I
charter company. He has come back ever since. Now this last of Cocos’
protest that it is a great shame, and Victor pinches my shoulder
treasure hunters is on the other side of the table—an integral part of
in a way that fuses the paternal and passive-aggressive: “Not as
our burial team.
much as the fishing.” The antenna has been commissioned by the 78
79
Park Ranger, Isla del Coco
81 80
Park Ranger, Isla del Coco
81 80
Cocos Island, Costa Rica
CLEFT AND CATARACT
5° 31' 45" N, 87° 3' 36" W
MARCH 20, 2014
A nother waterfall, this time cutting up through a cliff that is home to hundreds of nesting brown boobies—our boulder path splattered with their excrement. As I put out my hand to grasp a stone a huge orange crab scuttles out to meet my fingers—its claws raised high in protest. More from other crannies, and I can’t help but think they’d look better cooked. It seems the only places to put to land outside Chatham and Wafer are the clefts of pseudo valley cut by such falls. Invariably, as with this place and the rest we end up visiting this day, inclines rise inaccessible anywhere but the watercourse. On their angles the topsoil is only dusting, jealously guarded by thick plant life.
Morning sun runs across the canopy, dropping to catch unfamiliar
Use of a machete is out of the question for biological reasons. For
seagrass tufts, picking out the shoulders of birds in nest and flight. So
these reasons some of our number say that the chest will have to find
much precipice, thick with tropical leaf.
a home at the bottom of a stony pool, in any of the island’s thousand
Seemingly adrift in the Pacific, the island is but the peak of a
waterfalls. But this option is only a seeming expedience. If rainwater
mountain that rises from the ocean floor. Beyond Chatham and Wafer,
runoff has produced the broken stone of its valleys and coves then
the rule of relief coastline is followed most acutely—in the vein of
it can literally move mountains. Nothing left in the watercourse can
geographical fantasy. On the southern coast our eyes climb mossy
hope for anything better than being blasted, sooner or later, towards
stone and towering waterfalls, skip into caves and blowholes, cling to
the sea.
rotting tree trunks and get caught on fractured boulders. The island’s many faces meet our gaze but turn in on themselves. Our will to encapsulate, and to penetrate, meets resistance at the nearest bodily turn. Back at the promontory, this time at low tide, my previous entry point looms higher. Once again Pepe maneuvers the skiff into position and we wait for a wave to lift us. A cloud of rain is passing and toeholds are slippery but the Captain—with a small spade tied to a coil of rope hanging over his shoulder—and I make the climb. The roots of a large tree protrude from the earth and interlink, wrapping stone and mud together in a python’s embrace. We’ve come to test the soil depth and it doesn’t take long to establish that there is little more than a couple of feet. Now we have to make it back down, climbing wet. I spend a minute considering a rock platform just a couple of meters below us, the blue shade of the water some meters after that, and jump. Another bay without a name. Off the skiff to swim to shore. The same shifting resistance by rolling football sized rocks in the surf. 82
83
Cocos Island, Costa Rica
CLEFT AND CATARACT
5° 31' 45" N, 87° 3' 36" W
MARCH 20, 2014
A nother waterfall, this time cutting up through a cliff that is home to hundreds of nesting brown boobies—our boulder path splattered with their excrement. As I put out my hand to grasp a stone a huge orange crab scuttles out to meet my fingers—its claws raised high in protest. More from other crannies, and I can’t help but think they’d look better cooked. It seems the only places to put to land outside Chatham and Wafer are the clefts of pseudo valley cut by such falls. Invariably, as with this place and the rest we end up visiting this day, inclines rise inaccessible anywhere but the watercourse. On their angles the topsoil is only dusting, jealously guarded by thick plant life.
Morning sun runs across the canopy, dropping to catch unfamiliar
Use of a machete is out of the question for biological reasons. For
seagrass tufts, picking out the shoulders of birds in nest and flight. So
these reasons some of our number say that the chest will have to find
much precipice, thick with tropical leaf.
a home at the bottom of a stony pool, in any of the island’s thousand
Seemingly adrift in the Pacific, the island is but the peak of a
waterfalls. But this option is only a seeming expedience. If rainwater
mountain that rises from the ocean floor. Beyond Chatham and Wafer,
runoff has produced the broken stone of its valleys and coves then
the rule of relief coastline is followed most acutely—in the vein of
it can literally move mountains. Nothing left in the watercourse can
geographical fantasy. On the southern coast our eyes climb mossy
hope for anything better than being blasted, sooner or later, towards
stone and towering waterfalls, skip into caves and blowholes, cling to
the sea.
rotting tree trunks and get caught on fractured boulders. The island’s many faces meet our gaze but turn in on themselves. Our will to encapsulate, and to penetrate, meets resistance at the nearest bodily turn. Back at the promontory, this time at low tide, my previous entry point looms higher. Once again Pepe maneuvers the skiff into position and we wait for a wave to lift us. A cloud of rain is passing and toeholds are slippery but the Captain—with a small spade tied to a coil of rope hanging over his shoulder—and I make the climb. The roots of a large tree protrude from the earth and interlink, wrapping stone and mud together in a python’s embrace. We’ve come to test the soil depth and it doesn’t take long to establish that there is little more than a couple of feet. Now we have to make it back down, climbing wet. I spend a minute considering a rock platform just a couple of meters below us, the blue shade of the water some meters after that, and jump. Another bay without a name. Off the skiff to swim to shore. The same shifting resistance by rolling football sized rocks in the surf. 82
83
85
85
San Jose, Costa Rica
PURE GOLD
9° 55' 29" N, 84° 4' 41" W
MAY 1, 2014
the President of FAICO. We pick up Don Carlos Manuel Uribe from his corporate headquarters. Over pasta the status of our permission to bury our treasure is the only topic. During our previous expedition the Director of the Cocos Park was happy to offer verbal agreement. Looking to minimize risk we had requested written permission and were instructed to prepare our preferred wording. In the two weeks following our foundation’s lawyer, incorporating numerous conditions suggested by members of the team, produced a draft running to eight pages. Our Costa Rican colleagues would respond to it with the categorical statement that something so complicated would have be
Pizza Hut, Taco Bell, McDonalds, Denny’s and even a branch of Hooters:
taken to council, and that a decision might then take three months.
What little colonial architecture remains in San Jose is lost in urban
Apparently, our request to blindfold the park-appointed biological
sprawl. I’ve arrived a day prior to our second expedition to meet with
observer or use other “unorthodox methods” was a particular sticking
Alejandra from FAICO—to review whatever Cocos related historical
point. Given the expedition’s start the following day I impressed upon
materials are to be found in her office. In the couple of hours before
him the urgency of the matter. Before dessert he had raised the park’s
our appointment I seek out the national museum. It proves closed but
legal counsel by telephone. The consequence of his consultation was a
a walk through the center of town, punctuated by an underwhelming
six-hour stint in his office, in which he and I drafted a letter of request
empanada, takes me to the museum of gold and currency—located in
(in the place of our proposed agreement) that would allow the lawyer
the concrete basement of the country’s Brutalist central bank.
to respond with a letter of permission (whose details were spelled
The pre-Colombian collection features frogs, fish and predatory
out in advance, unofficially, by email). Every clause in our original
birds—tokens for animist ritual—made of pure gold. So many departed
document was checked against the stipulations of the reply, and by
chieftans were buried with such items, but for all that has been
the end of the day the job was complete. Now I would just have to wait
recovered for museums much more has been ripped from tombs and
for a signature.
carted away undocumented. If today this practice is the province of
The next day I meet the Academy fellows and team before boarding
a small shadow economy, in the days of Spanish dominion it was an
a flight for Quepos. Some hours later we are on the Dardanella. The
economic agenda. How many masterpieces of that era would meet
morning after, just as we are getting underway, I check my inbox:
the forge, to be remade as ingots or glittering Christian icons like the
A note bearing a curvy signature and a stamp bearing the icon of a
Virgin of Lima Cathedral—a life-sized gold figure entrusted to Captain
hammerhead shark. It’s official, and not a moment too soon.
Thompson along with more than a hundred other smaller religious statues, before their unlawful burial on Cocos? Perhaps it is fitting that the icon’s body, cast from the proud forms of creatures and spirits stolen from gravesites, should have been returned to the ground. It is soon clear that my historical education will not be further obliged. Instead, Alejandra informs me that we are going to meet 86
87
San Jose, Costa Rica
PURE GOLD
9° 55' 29" N, 84° 4' 41" W
MAY 1, 2014
the President of FAICO. We pick up Don Carlos Manuel Uribe from his corporate headquarters. Over pasta the status of our permission to bury our treasure is the only topic. During our previous expedition the Director of the Cocos Park was happy to offer verbal agreement. Looking to minimize risk we had requested written permission and were instructed to prepare our preferred wording. In the two weeks following our foundation’s lawyer, incorporating numerous conditions suggested by members of the team, produced a draft running to eight pages. Our Costa Rican colleagues would respond to it with the categorical statement that something so complicated would have be
Pizza Hut, Taco Bell, McDonalds, Denny’s and even a branch of Hooters:
taken to council, and that a decision might then take three months.
What little colonial architecture remains in San Jose is lost in urban
Apparently, our request to blindfold the park-appointed biological
sprawl. I’ve arrived a day prior to our second expedition to meet with
observer or use other “unorthodox methods” was a particular sticking
Alejandra from FAICO—to review whatever Cocos related historical
point. Given the expedition’s start the following day I impressed upon
materials are to be found in her office. In the couple of hours before
him the urgency of the matter. Before dessert he had raised the park’s
our appointment I seek out the national museum. It proves closed but
legal counsel by telephone. The consequence of his consultation was a
a walk through the center of town, punctuated by an underwhelming
six-hour stint in his office, in which he and I drafted a letter of request
empanada, takes me to the museum of gold and currency—located in
(in the place of our proposed agreement) that would allow the lawyer
the concrete basement of the country’s Brutalist central bank.
to respond with a letter of permission (whose details were spelled
The pre-Colombian collection features frogs, fish and predatory
out in advance, unofficially, by email). Every clause in our original
birds—tokens for animist ritual—made of pure gold. So many departed
document was checked against the stipulations of the reply, and by
chieftans were buried with such items, but for all that has been
the end of the day the job was complete. Now I would just have to wait
recovered for museums much more has been ripped from tombs and
for a signature.
carted away undocumented. If today this practice is the province of
The next day I meet the Academy fellows and team before boarding
a small shadow economy, in the days of Spanish dominion it was an
a flight for Quepos. Some hours later we are on the Dardanella. The
economic agenda. How many masterpieces of that era would meet
morning after, just as we are getting underway, I check my inbox:
the forge, to be remade as ingots or glittering Christian icons like the
A note bearing a curvy signature and a stamp bearing the icon of a
Virgin of Lima Cathedral—a life-sized gold figure entrusted to Captain
hammerhead shark. It’s official, and not a moment too soon.
Thompson along with more than a hundred other smaller religious statues, before their unlawful burial on Cocos? Perhaps it is fitting that the icon’s body, cast from the proud forms of creatures and spirits stolen from gravesites, should have been returned to the ground. It is soon clear that my historical education will not be further obliged. Instead, Alejandra informs me that we are going to meet 86
87
Cocos Island, Costa Rica
THE EVENTUAL X ANDREW RANVILLE
X° XX' XX" N, XX° X' XX" W
MAY 3, 2014
Always be prepared. If you are going to bury the first treasure in nearly 200 years on the infamous Isla del Coco at least get the X as close as you can. Uniform UTM coordinate settings for the same data grid, same map spheroid across all devices. Three out of four made the cut, two worked perfectly on site. We’ll average the data. In math, x often represents the unknown value to find. On treasure maps, the X is manifest. We now have our unknown value, we have buried our treasure. X marks the spot.
88
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Cocos Island, Costa Rica
THE EVENTUAL X ANDREW RANVILLE
X° XX' XX" N, XX° X' XX" W
MAY 3, 2014
Always be prepared. If you are going to bury the first treasure in nearly 200 years on the infamous Isla del Coco at least get the X as close as you can. Uniform UTM coordinate settings for the same data grid, same map spheroid across all devices. Three out of four made the cut, two worked perfectly on site. We’ll average the data. In math, x often represents the unknown value to find. On treasure maps, the X is manifest. We now have our unknown value, we have buried our treasure. X marks the spot.
88
89
MAY 3, 2014
91
MAY 3, 2014
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97
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98
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101
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Image caption, one to five lines long, two to five lines
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Image caption, one to five lines long, two to five lines
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Image caption, one to five lines long, two to five lines
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Image caption, one to five lines long, two to five lines
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117
117
Cocos Island, Costa Rica
VERNISSAGE
X° XX' XX" N, XX° X' XX" W
MAY 5, 2014
everything on land we begin the hike, careful not to place our feet on mossy stones or ankle snapping gaps between—lugging dead weight, past nests of brown boobies and their excrement. The stainless steel chest pieces glint like mirrors. It takes an hour before we deposit everything at the bottom of a rising wall of basalt. Andrew free climbs its damp face before setting a rope ladder and another line. Piece by piece the exhibition is hauled vertically up the face. Another hour. Another slow climb. Finally we reach the chosen spot. In a muddy grotto fringed by ferns the elements are finally assembled. Just two screws and it will be completely sealed. But members of our team
An early start to make the lowering tide, running against the swell. The
judge them inappropriate and demand alternatives. Now, at the apex
sea is much more choppy than yesterday and our skiff—packed with
of our task, tempers fray at the suggestion of a weak link rendering
inflatable fenders, shovels, ropes, pressure sphere and steel exteriors
the project imperfectly complete. A drop of blood in the water and the
along with our team—is in constant lurch. Low grey clouds eddy with
sharks of Cocos circle. But there is nothing else—these are the ones
the promise of rain—the island’s green cliffs frowning gusty. Perhaps
supplied by the fabricator, tested and shipped with the chest from
it’s not the morning for it.
Vienna. We curse and cross-thread them. We have a very tight seal.
But—from the wake spouts a non-mechanical eruption: A bottlenose,
Now to get rid of it. I thrust the shovel into the mud and take
immediately called a good sign by the sailors among us. The surge at
unexpected satisfaction in throwing slop over the chest’s polished
our landing site looks makeable so the Captain makes the call. “We
form. It seems others do too. But the mud slides off. Soon we’re piling
have a good plan—and we’re all going to stick to it. Everybody knows
on rocks, digging them out of soil with our bare hands, pulling them
what they’re supposed to be doing, so I don’t want to hear any other
from under tree roots, kicking them down from higher reaches, picking
ideas while we’re doing it. We’re going to get in and do this as quickly
them up and laying them on. More slop and even bigger stones. It is
as possible before the waves pick up any more.” Dive masks on, gloves and shoes. Into the water. Swirling bubbles and lifting surface, the push towards our piece of coast. Strokes away
buried. Francesca produces a plastic water bottle filled with rum and we all take large drafts. For a moment there is nothing left but to slip into a nearby pool and finish it off.
from jutting crags, a check on the backward pull. Rising, falling, turning to watch for sets and ducking to meet boulders. Then—a moment worth gambling a final sprint for shore. Waves flush some of us directly over the rocks, others step out. One by one we make it in—the last swimmer toeing a line. We take footholds and begin to heave our makeshift raft from the skiff toward us on the rope. At the waters edge a wave picks it up and we yank quickly left, attempting to forestall a sideways crash of artworks into wet cliff-face. The process is repeated for all three elements. With 118
119
Cocos Island, Costa Rica
VERNISSAGE
X° XX' XX" N, XX° X' XX" W
MAY 5, 2014
everything on land we begin the hike, careful not to place our feet on mossy stones or ankle snapping gaps between—lugging dead weight, past nests of brown boobies and their excrement. The stainless steel chest pieces glint like mirrors. It takes an hour before we deposit everything at the bottom of a rising wall of basalt. Andrew free climbs its damp face before setting a rope ladder and another line. Piece by piece the exhibition is hauled vertically up the face. Another hour. Another slow climb. Finally we reach the chosen spot. In a muddy grotto fringed by ferns the elements are finally assembled. Just two screws and it will be completely sealed. But members of our team
An early start to make the lowering tide, running against the swell. The
judge them inappropriate and demand alternatives. Now, at the apex
sea is much more choppy than yesterday and our skiff—packed with
of our task, tempers fray at the suggestion of a weak link rendering
inflatable fenders, shovels, ropes, pressure sphere and steel exteriors
the project imperfectly complete. A drop of blood in the water and the
along with our team—is in constant lurch. Low grey clouds eddy with
sharks of Cocos circle. But there is nothing else—these are the ones
the promise of rain—the island’s green cliffs frowning gusty. Perhaps
supplied by the fabricator, tested and shipped with the chest from
it’s not the morning for it.
Vienna. We curse and cross-thread them. We have a very tight seal.
But—from the wake spouts a non-mechanical eruption: A bottlenose,
Now to get rid of it. I thrust the shovel into the mud and take
immediately called a good sign by the sailors among us. The surge at
unexpected satisfaction in throwing slop over the chest’s polished
our landing site looks makeable so the Captain makes the call. “We
form. It seems others do too. But the mud slides off. Soon we’re piling
have a good plan—and we’re all going to stick to it. Everybody knows
on rocks, digging them out of soil with our bare hands, pulling them
what they’re supposed to be doing, so I don’t want to hear any other
from under tree roots, kicking them down from higher reaches, picking
ideas while we’re doing it. We’re going to get in and do this as quickly
them up and laying them on. More slop and even bigger stones. It is
as possible before the waves pick up any more.” Dive masks on, gloves and shoes. Into the water. Swirling bubbles and lifting surface, the push towards our piece of coast. Strokes away
buried. Francesca produces a plastic water bottle filled with rum and we all take large drafts. For a moment there is nothing left but to slip into a nearby pool and finish it off.
from jutting crags, a check on the backward pull. Rising, falling, turning to watch for sets and ducking to meet boulders. Then—a moment worth gambling a final sprint for shore. Waves flush some of us directly over the rocks, others step out. One by one we make it in—the last swimmer toeing a line. We take footholds and begin to heave our makeshift raft from the skiff toward us on the rope. At the waters edge a wave picks it up and we yank quickly left, attempting to forestall a sideways crash of artworks into wet cliff-face. The process is repeated for all three elements. With 118
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Captain Brady MacDonald
Cocos Island, Costa Rica
SUCCESS
5° 31' 45" N, 87° 3' 36" W
MAY 4, 2014
My job is to bring people from location A to B, and back to A (sometimes C) without a scratch and with lots of stories. Usually it’s a relatively straightforward situation. People come on board, we go diving, do some land excursions, etc. etc. etc. However, this trip was quite different. Planning to bury a treasure on an absolutely uninviting island is no easy task. Just to get people ashore from the launch was a dangerous effort. Timing waves and working with our team of safety swimmers we got everyone there safely. Then… to get the equipment and treasure itself ashore… . There are no paths, no “easy way”. Just jungle and rocks and big waves smashing into all of it. Once everyone, and everything was on shore we still n eeded to get to our burial location and that itself was another risky endeavor. Climbing wet rocks covered in moss and slime and then carrying sixty kilo treasure cases over it all. In the end we made it from A to B, and safely, without a scratch. We made a plan, and it was a good plan. As they say in diving, “make your plan and dive your plan.” It was interesting to think as I was signing the pact of secrecy with my blood (seriously) that I’m the first Captain to bury a treasure in Cocos island in over 200 years. The funny part is that I’m also the ONLY Captain who never plans to return for it… .
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Captain Brady MacDonald
Cocos Island, Costa Rica
SUCCESS
5° 31' 45" N, 87° 3' 36" W
MAY 4, 2014
My job is to bring people from location A to B, and back to A (sometimes C) without a scratch and with lots of stories. Usually it’s a relatively straightforward situation. People come on board, we go diving, do some land excursions, etc. etc. etc. However, this trip was quite different. Planning to bury a treasure on an absolutely uninviting island is no easy task. Just to get people ashore from the launch was a dangerous effort. Timing waves and working with our team of safety swimmers we got everyone there safely. Then… to get the equipment and treasure itself ashore… . There are no paths, no “easy way”. Just jungle and rocks and big waves smashing into all of it. Once everyone, and everything was on shore we still n eeded to get to our burial location and that itself was another risky endeavor. Climbing wet rocks covered in moss and slime and then carrying sixty kilo treasure cases over it all. In the end we made it from A to B, and safely, without a scratch. We made a plan, and it was a good plan. As they say in diving, “make your plan and dive your plan.” It was interesting to think as I was signing the pact of secrecy with my blood (seriously) that I’m the first Captain to bury a treasure in Cocos island in over 200 years. The funny part is that I’m also the ONLY Captain who never plans to return for it… .
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125 INTERVIEWS JULIAN CHARRIÈRE / CONSTANT DULLAART / OLAFUR ELIASSON / PEPE MONGE GARCIA / FERNANDO QUIROS BRENES / ANDREW RANVILLE CONDUCTED BY NADIM SAMMAN
125 INTERVIEWS JULIAN CHARRIÈRE / CONSTANT DULLAART / OLAFUR ELIASSON / PEPE MONGE GARCIA / FERNANDO QUIROS BRENES / ANDREW RANVILLE CONDUCTED BY NADIM SAMMAN
also unaware of the historical Treasure of Lima. Now I start to see the project in relation to these things, as well as the other pirate treasures buried on the island. Pirates have put something physical on Coco, but they have also given the place stories—a narrative layer. Treasure hunters don’t just want gold, they want to be part of these stories. We have added another narrative layer that is going to stay with the island. And we have done it while making a point—as one important goal of the project is for the map to be sold in order to establish a shark sanctuary. I never knew about this island, I would never have known about it if it were not for this project—and I think a lot of people will also come to know it through our action. Through this project the island and its surrounding waters become the treasure, and the buried exhibition its context. To a certain degree you cannot be sure what is really on display. For a normal viewer who is not going to uncover the work it is all
JULIAN CHARRIÈRE
about the manner in which they encounter the exhibition. On the one hand the project is about a secret exhibition that has been buried. A second reading is the context of the place where the works have been installed. This is much more about Coco than about the artwork. We
N A D I M S A M M A N What do you think this project is about?
are exhibiting the beauty and problems of this island. The exhibition
J U L I A N C H A R R I È R E It is about questioning the exhibition. The first
relies heavily on the power of this place. Interestingly, the project uses
thing that came to my mind when you told me about the project was
something hidden to make something visible. I think this is quite a
the fact that it is a kind of reverse—the contrary of what artists usually
strong concept for an exhibition.
want. Artists want their work to be seen. I’m sure that no one is going
Of course, it is also about a group of people who came together
to recover and view my piece, as the island is so remote and because of
in a great collective action, a special moment, to bring something
the difficulties of the encryption. But this condition does something else
completely beautiful into the world. It's not just about the object.
for my work. Normally an exhibition has a really short life, on for three
N . S . It seems your practice concerns finding new ways to talk
weeks or months, and then it only lives on in documentation, through
about, let's say, environments or placehood. Would you d escribe
different media—the internet, books, and articles. What is interesting
your concerns differently?
about this exhibition is that, even though nobody sees it, it goes on—
J . C . It depends on which concern. I have much more than one but I
forever—in a space; in a secret place. The exhibition is a kind of storage
am certainly interested in the way expeditions can be artwork. I go to
for eternity—something that is going to traverse the centuries.
a place like Iceland, I do different things there and bring back a sort of
Before I was invited on the expedition I didn’t know that Coco
documentation that communicates my art. I talk about environmental
inspired Stevenson’s Treasure Island or Defoe’s Robinson Crusoe. I was
problems too, which are inherently related to place. However, my
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also unaware of the historical Treasure of Lima. Now I start to see the project in relation to these things, as well as the other pirate treasures buried on the island. Pirates have put something physical on Coco, but they have also given the place stories—a narrative layer. Treasure hunters don’t just want gold, they want to be part of these stories. We have added another narrative layer that is going to stay with the island. And we have done it while making a point—as one important goal of the project is for the map to be sold in order to establish a shark sanctuary. I never knew about this island, I would never have known about it if it were not for this project—and I think a lot of people will also come to know it through our action. Through this project the island and its surrounding waters become the treasure, and the buried exhibition its context. To a certain degree you cannot be sure what is really on display. For a normal viewer who is not going to uncover the work it is all
JULIAN CHARRIÈRE
about the manner in which they encounter the exhibition. On the one hand the project is about a secret exhibition that has been buried. A second reading is the context of the place where the works have been installed. This is much more about Coco than about the artwork. We
N A D I M S A M M A N What do you think this project is about?
are exhibiting the beauty and problems of this island. The exhibition
J U L I A N C H A R R I È R E It is about questioning the exhibition. The first
relies heavily on the power of this place. Interestingly, the project uses
thing that came to my mind when you told me about the project was
something hidden to make something visible. I think this is quite a
the fact that it is a kind of reverse—the contrary of what artists usually
strong concept for an exhibition.
want. Artists want their work to be seen. I’m sure that no one is going
Of course, it is also about a group of people who came together
to recover and view my piece, as the island is so remote and because of
in a great collective action, a special moment, to bring something
the difficulties of the encryption. But this condition does something else
completely beautiful into the world. It's not just about the object.
for my work. Normally an exhibition has a really short life, on for three
N . S . It seems your practice concerns finding new ways to talk
weeks or months, and then it only lives on in documentation, through
about, let's say, environments or placehood. Would you d escribe
different media—the internet, books, and articles. What is interesting
your concerns differently?
about this exhibition is that, even though nobody sees it, it goes on—
J . C . It depends on which concern. I have much more than one but I
forever—in a space; in a secret place. The exhibition is a kind of storage
am certainly interested in the way expeditions can be artwork. I go to
for eternity—something that is going to traverse the centuries.
a place like Iceland, I do different things there and bring back a sort of
Before I was invited on the expedition I didn’t know that Coco
documentation that communicates my art. I talk about environmental
inspired Stevenson’s Treasure Island or Defoe’s Robinson Crusoe. I was
problems too, which are inherently related to place. However, my
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approach is not the same as the Land Art of the 1970s—even though I
one’s presence—leaving a trace of one’s existence for eternity. This
borrow from it. When I meet an iceberg in Iceland I am talking about
is related to what we did with the treasure. I like the fact that the
global warming, but I’m also talking about history and about the really
carvings by old pirates sit next to the marks left by Cousteau, and even
pristine act of sculpture. So my work is more than just environmental.
badly rendered ones from the near present-day. In terms of geological
I always choose the landscape and the place as the surrounding for
time there is a certain equivalence between those left by a teenager
my work—a particular setting that is interesting in a wider way.
from 1991 and legendary figures.
N . S . In one of your photo series you go to natural sites like forests,
This beach is the only place on Coco that is easily accessible by
craters and mountains and write the name of what the thing is on
boat, so everybody who reaches the island puts his mark in the same
them—you graffiti them, so to speak, and I think you mentioned
place. People seem to have to leave a sign of their presence, and that
once that this was about how cultural identity is applied something
is something that is highly interesting. I can tell you this—in the South
that is pre-cultural. The act of naming.
Pole, under the ice crevices, there is cave that has been filled with
J . C . Yes, the act of appropriation through culture. With this graffiti
people’s marks. In the mountains of the Himalayas, on the way to
series I am working on the world globe in the same way that human
the summit of Everest are a lot of signs, a lot of marks, a lot of little
beings of take over through cultural enterprise. Before starting to
authors. This impulse is related to art. Art is also about leaving a trace
make maps we put names on things, and this is the beginning of
in the world. Why does a painter sign a canvas, why do the pirates
appropriation. When we are afraid of something we don’t know we first
sign stones? These things are related. Thinking about our exhibition—
name it. When we name something it starts to belong to us, we initiate
this drive to leave a mark also figures very strongly. We came to
a relation and a dialogue with this thing. Then we can map it or draw
an amazing place, where nobody has ever put their feet, in order to
it. Then it becomes the subject of the museum, the purpose of natural
bury a treasure. In a way this treasure belongs to us—because we
history, and more. Naming is related to imperialism, it is also related
made it happen. It belongs to me because I put something in it and it
to consumerism. We are living at the high peak of consumerism. I am
will remain there, in a place where the tradition of leaving a mark is
interested in the putative correlation between the subject and the
extremely clear.
object and how ownership figures into this. Who has the right to say a
N . S . But pirates usually try to be invisible. One of the reasons
landscape or place is a certain thing, perhaps more or less important
Coco was so useful for them was that it was out of the sight of the
than another? Measuring and naming is a kind of valuation.
mainland and away from fishing locations and transport routes.
N . S . On Chatham Bay pirates and whalers, tourists and treasure
J . C . Yes, but you rarely leave a trace in a non-remote place. Of course
hunters have carved their names, and that of their ships, onto
some people do, like graffiti artists who leave their traces all around
hundreds of stones. It's interesting that Coco’s pirate history
Berlin, but they don’t expect their trace to remain for long—or forever.
involves people taking things that do not belong to them, depositing
The more inaccessible the place, the greater the need to mark it. For
them on the island and then leaving their mark behind. What do you
sure, pirates want to go to secret places but still they have this need
think of this? How does your experience of the island and these
to show that they were there. So they will carve a stone knowing that
stones tie in to what you have just said?
maybe no one is going to see it for the next 200 years—but that at
J . C . I documented almost every carving because I am really interested
some point somebody, like us, will come, and that there will be a link
in such traces. Putting a name on a tree, for instance, is about marking
between us. Even outlaws do not want to be forgotten.
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129
approach is not the same as the Land Art of the 1970s—even though I
one’s presence—leaving a trace of one’s existence for eternity. This
borrow from it. When I meet an iceberg in Iceland I am talking about
is related to what we did with the treasure. I like the fact that the
global warming, but I’m also talking about history and about the really
carvings by old pirates sit next to the marks left by Cousteau, and even
pristine act of sculpture. So my work is more than just environmental.
badly rendered ones from the near present-day. In terms of geological
I always choose the landscape and the place as the surrounding for
time there is a certain equivalence between those left by a teenager
my work—a particular setting that is interesting in a wider way.
from 1991 and legendary figures.
N . S . In one of your photo series you go to natural sites like forests,
This beach is the only place on Coco that is easily accessible by
craters and mountains and write the name of what the thing is on
boat, so everybody who reaches the island puts his mark in the same
them—you graffiti them, so to speak, and I think you mentioned
place. People seem to have to leave a sign of their presence, and that
once that this was about how cultural identity is applied something
is something that is highly interesting. I can tell you this—in the South
that is pre-cultural. The act of naming.
Pole, under the ice crevices, there is cave that has been filled with
J . C . Yes, the act of appropriation through culture. With this graffiti
people’s marks. In the mountains of the Himalayas, on the way to
series I am working on the world globe in the same way that human
the summit of Everest are a lot of signs, a lot of marks, a lot of little
beings of take over through cultural enterprise. Before starting to
authors. This impulse is related to art. Art is also about leaving a trace
make maps we put names on things, and this is the beginning of
in the world. Why does a painter sign a canvas, why do the pirates
appropriation. When we are afraid of something we don’t know we first
sign stones? These things are related. Thinking about our exhibition—
name it. When we name something it starts to belong to us, we initiate
this drive to leave a mark also figures very strongly. We came to
a relation and a dialogue with this thing. Then we can map it or draw
an amazing place, where nobody has ever put their feet, in order to
it. Then it becomes the subject of the museum, the purpose of natural
bury a treasure. In a way this treasure belongs to us—because we
history, and more. Naming is related to imperialism, it is also related
made it happen. It belongs to me because I put something in it and it
to consumerism. We are living at the high peak of consumerism. I am
will remain there, in a place where the tradition of leaving a mark is
interested in the putative correlation between the subject and the
extremely clear.
object and how ownership figures into this. Who has the right to say a
N . S . But pirates usually try to be invisible. One of the reasons
landscape or place is a certain thing, perhaps more or less important
Coco was so useful for them was that it was out of the sight of the
than another? Measuring and naming is a kind of valuation.
mainland and away from fishing locations and transport routes.
N . S . On Chatham Bay pirates and whalers, tourists and treasure
J . C . Yes, but you rarely leave a trace in a non-remote place. Of course
hunters have carved their names, and that of their ships, onto
some people do, like graffiti artists who leave their traces all around
hundreds of stones. It's interesting that Coco’s pirate history
Berlin, but they don’t expect their trace to remain for long—or forever.
involves people taking things that do not belong to them, depositing
The more inaccessible the place, the greater the need to mark it. For
them on the island and then leaving their mark behind. What do you
sure, pirates want to go to secret places but still they have this need
think of this? How does your experience of the island and these
to show that they were there. So they will carve a stone knowing that
stones tie in to what you have just said?
maybe no one is going to see it for the next 200 years—but that at
J . C . I documented almost every carving because I am really interested
some point somebody, like us, will come, and that there will be a link
in such traces. Putting a name on a tree, for instance, is about marking
between us. Even outlaws do not want to be forgotten.
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129
N . S . Do you think that we have added a cultural layer in Cocos?
really sure that you and Francesca will make it all happen.
J . C . I definitely think so. We were not like the treasure hunters who
N . S . I hope so. Yes it's been a long journey for me too to reach a
tried to extract a layer of history. We added one. I hope this story is
certain level of ease with the shark, to accept…
going to continue, and that is going to work out with the shark project.
J . C . To accept the curiosity of the shark.
I think there is a great chance that the ripples of our action spread
N . S . To get to know them. Before, I thought, “sharks are cool, sharks
further and further. Our mark is something really tiny and secret, but
look really good but I just don’t want them near me.” Now I have
we can translate it into something much bigger and wider without
come to think that each species has a different personality type, or
making the other marks obsolete. We are not going to reveal where
at least different motive behavior.
the treasure is. The treasure is going to stay but a lot of publicity will
J . C . They do have different personalities. Maybe not between sharks
be constructed around it. It is just the first of our stones.
but between species of shark.
N . S . Let's talk briefly about the sharks and diving. Prior to this
N . S . So after this no lakes?
project you didn’t know how to dive, and you learnt very quickly
J . C . Only big game, under the ice crust. I am certainly going to go
before coming here. Then you were literally thrown in the deep end.
further with the ocean.
I’m interested to hear some impressions of what it's like to meet a five meter tiger shark in the wild. J . C . For me the diving was the craziest experience of this trip. I think it was for everybody. I came here after qualifying in a lake that was seven meters deep, with a visibility of fifty centimeters. It was dark and cold, and already this left quite an impression. Coming here, jumping in and going directly to thirty meters, being surrounded by a completely new universe—it was just incredible. Incredible because it was so powerful and new. Throughout, I had the feeling of the endlessness of time in the ocean—and the small amount of time left to me by my oxygen needs. It was a completely new way of thinking about time and reality. I had this feeling of being in a new dimension, a parallel world. It had completely different rules of time perception. I think I will dive a lot more and make an art project that is diving related. It is so strong. Then there are the sharks. I used to watch Cousteau on Sunday afternoons with my parents, and all of a sudden I was in this world. I got in the water and almost immediately I saw sharks—a tiger shark, silky sharks, white and black tips. I had heard that these animals are legendary and dangerous but our dive guides kept telling us that they weren’t—just “curious.” Of course I was freaking out. I think it was beautiful, and I really do think that it is great if art can help them. I’m 130
131
N . S . Do you think that we have added a cultural layer in Cocos?
really sure that you and Francesca will make it all happen.
J . C . I definitely think so. We were not like the treasure hunters who
N . S . I hope so. Yes it's been a long journey for me too to reach a
tried to extract a layer of history. We added one. I hope this story is
certain level of ease with the shark, to accept…
going to continue, and that is going to work out with the shark project.
J . C . To accept the curiosity of the shark.
I think there is a great chance that the ripples of our action spread
N . S . To get to know them. Before, I thought, “sharks are cool, sharks
further and further. Our mark is something really tiny and secret, but
look really good but I just don’t want them near me.” Now I have
we can translate it into something much bigger and wider without
come to think that each species has a different personality type, or
making the other marks obsolete. We are not going to reveal where
at least different motive behavior.
the treasure is. The treasure is going to stay but a lot of publicity will
J . C . They do have different personalities. Maybe not between sharks
be constructed around it. It is just the first of our stones.
but between species of shark.
N . S . Let's talk briefly about the sharks and diving. Prior to this
N . S . So after this no lakes?
project you didn’t know how to dive, and you learnt very quickly
J . C . Only big game, under the ice crust. I am certainly going to go
before coming here. Then you were literally thrown in the deep end.
further with the ocean.
I’m interested to hear some impressions of what it's like to meet a five meter tiger shark in the wild. J . C . For me the diving was the craziest experience of this trip. I think it was for everybody. I came here after qualifying in a lake that was seven meters deep, with a visibility of fifty centimeters. It was dark and cold, and already this left quite an impression. Coming here, jumping in and going directly to thirty meters, being surrounded by a completely new universe—it was just incredible. Incredible because it was so powerful and new. Throughout, I had the feeling of the endlessness of time in the ocean—and the small amount of time left to me by my oxygen needs. It was a completely new way of thinking about time and reality. I had this feeling of being in a new dimension, a parallel world. It had completely different rules of time perception. I think I will dive a lot more and make an art project that is diving related. It is so strong. Then there are the sharks. I used to watch Cousteau on Sunday afternoons with my parents, and all of a sudden I was in this world. I got in the water and almost immediately I saw sharks—a tiger shark, silky sharks, white and black tips. I had heard that these animals are legendary and dangerous but our dive guides kept telling us that they weren’t—just “curious.” Of course I was freaking out. I think it was beautiful, and I really do think that it is great if art can help them. I’m 130
131
the artwork. There are many more examples, and I do think that there are a lot of circumstances in which an exhibition, or the form of an exhibition, or the work itself, is so ephemeral that documentary mediation is the only way to access it. With gestural or ephemeral pieces there is a social context that needs to be appreciated, and that is much more easily done through documentation—seeing in which period the exhibition or the performance took place, or what the larger political context was.
N . S . But in that sense it doesn’t replace the original work? C . D . It doesn’t replace the original. But ‘original’ is a vague concept – a reference or documentation might be the only way in which an artwork exists. With this project you can discuss whether it is necessary to look for the treasure or if you are happy to just have the signifier. The map is the signifier. It is something that is pointing towards the buried original. Sometimes holding a book is more interesting then reading it.
CONSTANT DULLAART
N . S . Do you see the process of encrypting the GPS coordinates and producing this physicalization of the code as an artwork in itself, or is it just a piece of information directing us to buried art objects? C . D . We worked on the encryption system, made the code physical
N A D I M S A M M A N When a work leaves your studio and is sold to a
and devised the way that you engage with it in a physical manner. We
museum or a foundation—how important is it that it remains on view
used the highest grade encryption available, and intricate technical
or accessible? Obviously, museums keep most of their collections
means to deliver it by 3D printing. I think this process celebrates and
in storage.
performs the fact that we’re living in a society where people have to
C O N S TA N T D U L L A A R T It depends. My online work comes with
go through really elaborate means to protect private communication.
a contract stipulating that the person who collects it becomes a
From that position I do think this is a commissioned artwork, and the
caretaker, and that they have the responsibility to keep it online and
artwork itself is also a reference to a larger thing.
visible to the public. . I also tend to prevent entire series from going
N . S . It is true that we require a lot of information security today,
into storage wihout the intent to exhibit, as I want to spread the love,
and we are used to the idea that information is valuable and
and not too thin.
therefore it needs protecting or policing. I want to bring this back
N . S . Can what people say about an exhibition, or the way it's
to the idea of buried treasure: All the previous buried treasures
communicated
on Coco have consisted of precious materials. In fact the original
through
documentation
or
commentary,
ever
replace witnessing it first-hand?
Treasure of Lima is supposed to include a full size solid gold statue
C . D . Think about the Xerox catalogue by the recently passed away
of the Virgin Mary. None of the works in the exhibition are made of
Seth Siegelaub for example, where the documentation actually was
gold, what does this say about art today?
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133
the artwork. There are many more examples, and I do think that there are a lot of circumstances in which an exhibition, or the form of an exhibition, or the work itself, is so ephemeral that documentary mediation is the only way to access it. With gestural or ephemeral pieces there is a social context that needs to be appreciated, and that is much more easily done through documentation—seeing in which period the exhibition or the performance took place, or what the larger political context was.
N . S . But in that sense it doesn’t replace the original work? C . D . It doesn’t replace the original. But ‘original’ is a vague concept – a reference or documentation might be the only way in which an artwork exists. With this project you can discuss whether it is necessary to look for the treasure or if you are happy to just have the signifier. The map is the signifier. It is something that is pointing towards the buried original. Sometimes holding a book is more interesting then reading it.
CONSTANT DULLAART
N . S . Do you see the process of encrypting the GPS coordinates and producing this physicalization of the code as an artwork in itself, or is it just a piece of information directing us to buried art objects? C . D . We worked on the encryption system, made the code physical
N A D I M S A M M A N When a work leaves your studio and is sold to a
and devised the way that you engage with it in a physical manner. We
museum or a foundation—how important is it that it remains on view
used the highest grade encryption available, and intricate technical
or accessible? Obviously, museums keep most of their collections
means to deliver it by 3D printing. I think this process celebrates and
in storage.
performs the fact that we’re living in a society where people have to
C O N S TA N T D U L L A A R T It depends. My online work comes with
go through really elaborate means to protect private communication.
a contract stipulating that the person who collects it becomes a
From that position I do think this is a commissioned artwork, and the
caretaker, and that they have the responsibility to keep it online and
artwork itself is also a reference to a larger thing.
visible to the public. . I also tend to prevent entire series from going
N . S . It is true that we require a lot of information security today,
into storage wihout the intent to exhibit, as I want to spread the love,
and we are used to the idea that information is valuable and
and not too thin.
therefore it needs protecting or policing. I want to bring this back
N . S . Can what people say about an exhibition, or the way it's
to the idea of buried treasure: All the previous buried treasures
communicated
on Coco have consisted of precious materials. In fact the original
through
documentation
or
commentary,
ever
replace witnessing it first-hand?
Treasure of Lima is supposed to include a full size solid gold statue
C . D . Think about the Xerox catalogue by the recently passed away
of the Virgin Mary. None of the works in the exhibition are made of
Seth Siegelaub for example, where the documentation actually was
gold, what does this say about art today?
132
133
C . D . It tells me that we have gone beyond that point of having material
the Spanish was Guy Fawkes— the person depicted on the Anonymous
value as the most important thing. People hunting for the original
Mask. Anyway, out of that war there emerged a naval force which
Treasure of Lima are seeking the value of the material, not because
were like the pirates of that time—a non-state group called 'de
it's a depiction of Mary. It is interesting that now we’re dealing with the
Geuzen' that liberated Holland. In that sense, for me, it is natural to be
fact that our treasure carries a value because of the topics that that
interested in the idea of somebody moving outside the law or seeing
the exhibition deals with and comments on the inflated art market.
it slightly more flexible than others do, since many laws are artificial
The brands that the participating artists have created are the new gold.
constructs based on monopolies of violence to induce subservience.
I would say that that this is an improvement, since we can talk about
Digital piracy challenges outdated financial power structures without
the weight of ideas and images instead of the weight of a material.
even stealing – just by copying. Maybe what I'm trying to say is that
Seeing that, today, information and even artists names/brands are
there is no real distinction between the two positions you described.
a commodity, harvested, sold on, flipped…How do we protect the
N . S . To clarify—what is your take on the importance of personal
intrinsic value of information or the brand that we create? What are
data protection versus complete transparency?
the measures that one has to go through to really guard a certain
C . D . How do we define these things? What do you define as total
conversation that could be interpreted for commercial purposes? How
transparency about yourself? Who should have access to this
do you protect and artist’s image against a hostile takeover?
transparency? Should this mean total transparency to everyone in your
N . S . Encrypting the GPS coordinates really brings us into the realm
life, including anonymous people, companies or governments? A lot of
of data protection. If you think about the revelation of NSA snooping
people are comfortable with being transparent to the government but
and even the general issues around the protection of intellectual
not to their neighbors. I think the definition of transparency is quite
property, and then you come onto the name given to people who
flexible at the moment. With regard to personal data protection, when
violate intellectual property law—digital pirates… . With this project
the postal system was first established it was run by private companies.
we move from an archaic kind of piracy to a new application of the
Later, in many countries these companies were nationalized and
term. So I guess I want to ask you this: Does the figure of the pirate
customs were in place. With post you were not supposed to open letters
represent anything beyond outlaw behavior to you? Do you identify
that were directed to somebody else—that was illegal. Now equivalent
more with the good character, Jim Hawkins, in Treasure Island or
regulations have to be made for digital information. These kinds of
with the pirates?
things are fought over because they need to be clear for the next few
C . D . My national history lessons in the Netherlands were riddled
centuries. At the moment, the personal involvement and responsibility
with conscious confusion between piracy and trade. There are still
to protect your communication is important. Do you encrypt your email?
Dutch boats out there catching the Nigerian pirates who are trying
I think what kind of data protection you use is an ethical decision. It is
to prevent people from milking the resources of their country, or
an ethical decision if you choose to support the system that is actually
attempting to take back some of the bounty. Meanwhile, Royal Dutch
giving oppressive governments access to people’s personal data. If you
Shell can’t seem to clean up their mess in the Niger river delta. But
use Skype, for example, you better be aware that it has actually been
when it comes to Holland’s internal historical situation there is
used as a Trojan horse to affect people’s computers—that it has been
another strange anecdote—the Dutch had an eighty-year war war of
used to spy on people. If you keep using this kind of software then you
independence with the Spanish. One of the people that fought with
are implicitly supporting this kind of moral standard.
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135
C . D . It tells me that we have gone beyond that point of having material
the Spanish was Guy Fawkes— the person depicted on the Anonymous
value as the most important thing. People hunting for the original
Mask. Anyway, out of that war there emerged a naval force which
Treasure of Lima are seeking the value of the material, not because
were like the pirates of that time—a non-state group called 'de
it's a depiction of Mary. It is interesting that now we’re dealing with the
Geuzen' that liberated Holland. In that sense, for me, it is natural to be
fact that our treasure carries a value because of the topics that that
interested in the idea of somebody moving outside the law or seeing
the exhibition deals with and comments on the inflated art market.
it slightly more flexible than others do, since many laws are artificial
The brands that the participating artists have created are the new gold.
constructs based on monopolies of violence to induce subservience.
I would say that that this is an improvement, since we can talk about
Digital piracy challenges outdated financial power structures without
the weight of ideas and images instead of the weight of a material.
even stealing – just by copying. Maybe what I'm trying to say is that
Seeing that, today, information and even artists names/brands are
there is no real distinction between the two positions you described.
a commodity, harvested, sold on, flipped…How do we protect the
N . S . To clarify—what is your take on the importance of personal
intrinsic value of information or the brand that we create? What are
data protection versus complete transparency?
the measures that one has to go through to really guard a certain
C . D . How do we define these things? What do you define as total
conversation that could be interpreted for commercial purposes? How
transparency about yourself? Who should have access to this
do you protect and artist’s image against a hostile takeover?
transparency? Should this mean total transparency to everyone in your
N . S . Encrypting the GPS coordinates really brings us into the realm
life, including anonymous people, companies or governments? A lot of
of data protection. If you think about the revelation of NSA snooping
people are comfortable with being transparent to the government but
and even the general issues around the protection of intellectual
not to their neighbors. I think the definition of transparency is quite
property, and then you come onto the name given to people who
flexible at the moment. With regard to personal data protection, when
violate intellectual property law—digital pirates… . With this project
the postal system was first established it was run by private companies.
we move from an archaic kind of piracy to a new application of the
Later, in many countries these companies were nationalized and
term. So I guess I want to ask you this: Does the figure of the pirate
customs were in place. With post you were not supposed to open letters
represent anything beyond outlaw behavior to you? Do you identify
that were directed to somebody else—that was illegal. Now equivalent
more with the good character, Jim Hawkins, in Treasure Island or
regulations have to be made for digital information. These kinds of
with the pirates?
things are fought over because they need to be clear for the next few
C . D . My national history lessons in the Netherlands were riddled
centuries. At the moment, the personal involvement and responsibility
with conscious confusion between piracy and trade. There are still
to protect your communication is important. Do you encrypt your email?
Dutch boats out there catching the Nigerian pirates who are trying
I think what kind of data protection you use is an ethical decision. It is
to prevent people from milking the resources of their country, or
an ethical decision if you choose to support the system that is actually
attempting to take back some of the bounty. Meanwhile, Royal Dutch
giving oppressive governments access to people’s personal data. If you
Shell can’t seem to clean up their mess in the Niger river delta. But
use Skype, for example, you better be aware that it has actually been
when it comes to Holland’s internal historical situation there is
used as a Trojan horse to affect people’s computers—that it has been
another strange anecdote—the Dutch had an eighty-year war war of
used to spy on people. If you keep using this kind of software then you
independence with the Spanish. One of the people that fought with
are implicitly supporting this kind of moral standard.
134
135
N . S . Do you use Skype?
power to take it on. Quite apart from all this, we were concerned about
C . D . Not anymore. There are a lot of other interesting encrypted ways of
human failure: We purposely divided the information among certain
chatting. By the way, I think that everybody should use a Virtual Private
people so you wouldn’t find the right chain, or find all of it in one place.
Network provider, or TOR. If you can you should run your own node.
But of course some people do have all the information. The easiest
People should be involved as much as possible in their own counter
way for someone to locate the treasure will probably be to get you
surveillance measures. We are currently in a state of information war
or I drunk and get us to share what we know. The social part where
and global cultural revolution, and we need to act accordingly.
certain things are revealed—who participated, who was there on that
N . S . Let's bring this back to the domain of the technical. The kind
boat, what kind of things can you find out. That’s the easiest way to
of things that you have just mentioned involve a certain technical
find the treasure. Much easier than actually blowing millions of dollars
agency or capability. In the case of the encrypted treasure map how
on computers and blasting away at the code.
much are you willing to say about how you went about this process?
N . S . You even gave me directions for how I could or couldn’t
Who were you dealing with? What procedures or considerations
communicate with you, could you perhaps summarise what you said?
were involved in this process?
C . D . We anonimously bought computers and had them running with
C . D . Well the considerations are related to vulnerability. How might this
a Tails system, which includes several encryption and anonymizing
encryption be broken? There are different ways. It would take somebody
tools, so we could talk securely. I gave you directions to install PGP
tapping away on their home computer decades to figure it out.
and have encrypted email communications, preferably through a new
But if somebody released the puzzle to the public and set a reward
email address, if you wouldn't use the computer we provided. I asked
for solving it then you could create a community of people that are
to receive the data in physical form – so it was only ever stored locally
all bashing away on the problem. That could potentially make it really
– and for you not to talk about the details of the project with your
vulnerable. If it could be crowd sourced then it could perhaps be solved
phone laying nearby. I did not want the data on any device connected
by 3000 people within a period of two days. How many people even
to another machine or computer. The data was never on the network.
have access to the puzzle is certainly an issue. Another consideration
N . S . In the end the GPS coordinates were sent to you on a piece of
was whether or not we would use standard encryption techniques.
paper.
Using a well known method would make it easier for someone to
C . D . Yes. We received a FedEx envelope sealed in several ways so
attack the problem, as there is an established playbook of cracking
we would know if it had been tampered with. We did not open this
strategies. With encryption there are always obvious ways, the same
until the moment that we actually knew the exact encryption system
as using transparent ink on a letter. Making the code physical helps
that we were going to use. We inputted the data and burnt the paper.
protect the data. If you see it at a distance you don’t acquire the code—
The system that we used was never on the internet. It was never
you really have to engage with it, have it in your hand, before you can
connected to anything.
begin. The cylindrical shape is also a cryptographic strategy—its form
N . S . And by “we” you mean you and a collaborator?
is such that you don’t know the starting point of the code. This means
C . D . Yes.
that the number of characters on the cylinder amounts to the number
N . S . Are they anonymous?
of possible starting points for the de-encryption process. This greatly
C . D . They are not anonymous but I prefer not to highlight any
increases the difficulty—and requires huge amounts of computing
background. Working with them was an interesting process. Just
136
137
N . S . Do you use Skype?
power to take it on. Quite apart from all this, we were concerned about
C . D . Not anymore. There are a lot of other interesting encrypted ways of
human failure: We purposely divided the information among certain
chatting. By the way, I think that everybody should use a Virtual Private
people so you wouldn’t find the right chain, or find all of it in one place.
Network provider, or TOR. If you can you should run your own node.
But of course some people do have all the information. The easiest
People should be involved as much as possible in their own counter
way for someone to locate the treasure will probably be to get you
surveillance measures. We are currently in a state of information war
or I drunk and get us to share what we know. The social part where
and global cultural revolution, and we need to act accordingly.
certain things are revealed—who participated, who was there on that
N . S . Let's bring this back to the domain of the technical. The kind
boat, what kind of things can you find out. That’s the easiest way to
of things that you have just mentioned involve a certain technical
find the treasure. Much easier than actually blowing millions of dollars
agency or capability. In the case of the encrypted treasure map how
on computers and blasting away at the code.
much are you willing to say about how you went about this process?
N . S . You even gave me directions for how I could or couldn’t
Who were you dealing with? What procedures or considerations
communicate with you, could you perhaps summarise what you said?
were involved in this process?
C . D . We anonimously bought computers and had them running with
C . D . Well the considerations are related to vulnerability. How might this
a Tails system, which includes several encryption and anonymizing
encryption be broken? There are different ways. It would take somebody
tools, so we could talk securely. I gave you directions to install PGP
tapping away on their home computer decades to figure it out.
and have encrypted email communications, preferably through a new
But if somebody released the puzzle to the public and set a reward
email address, if you wouldn't use the computer we provided. I asked
for solving it then you could create a community of people that are
to receive the data in physical form – so it was only ever stored locally
all bashing away on the problem. That could potentially make it really
– and for you not to talk about the details of the project with your
vulnerable. If it could be crowd sourced then it could perhaps be solved
phone laying nearby. I did not want the data on any device connected
by 3000 people within a period of two days. How many people even
to another machine or computer. The data was never on the network.
have access to the puzzle is certainly an issue. Another consideration
N . S . In the end the GPS coordinates were sent to you on a piece of
was whether or not we would use standard encryption techniques.
paper.
Using a well known method would make it easier for someone to
C . D . Yes. We received a FedEx envelope sealed in several ways so
attack the problem, as there is an established playbook of cracking
we would know if it had been tampered with. We did not open this
strategies. With encryption there are always obvious ways, the same
until the moment that we actually knew the exact encryption system
as using transparent ink on a letter. Making the code physical helps
that we were going to use. We inputted the data and burnt the paper.
protect the data. If you see it at a distance you don’t acquire the code—
The system that we used was never on the internet. It was never
you really have to engage with it, have it in your hand, before you can
connected to anything.
begin. The cylindrical shape is also a cryptographic strategy—its form
N . S . And by “we” you mean you and a collaborator?
is such that you don’t know the starting point of the code. This means
C . D . Yes.
that the number of characters on the cylinder amounts to the number
N . S . Are they anonymous?
of possible starting points for the de-encryption process. This greatly
C . D . They are not anonymous but I prefer not to highlight any
increases the difficulty—and requires huge amounts of computing
background. Working with them was an interesting process. Just
136
137
discussing certain vulnerabilities, going step by step, was eye-opening.
buying artworks, with systems of modification happening in the art
It was a learning curve for me, as an artist, to investigate how you
world right now. It is a very current project—what you’re saying is that
really protect data. Figuring out that you need a random number in
buying an affiliation with an artwork is almost as valuable as buying the
lone encryption generated a host of considerations: You need to have
original thing. What ensured my participation in the project is that there
access to something that creates a random number. Very often that
are so many artworks now, and it is of importance to celebrate those
number is generated by a computer chip. I learned that there is certain
that are ephemeral, that are not just ready to hang on your wall. It is
radioactive material involved in chips that, in fact, influences the
interesting that there are different qualification processes to associate
random number—and that it is easier to solve certain encryptions if
yourself, as a collector or patron, with art. The project reflects on this
you know what the chip that produced the number was made of. Just
and that is worth considering. Also, association with a story is what the
to find out how far you really have to go to protect your information, if
collector wants. The story almost becomes a commodity, and the brand
you’re talking about really important stuff, was quite scary. To learn all
names of the participating artists create the value to speculate with.
the ways data can be retrieved was shocking. If it's important enough
N . S . What is your relationship with nature like? Can this expedition
someone can always find out.
really support nature with the help of art?
The fact that you don’t know where the code starts is written
C . D . My relationship to nature is something that I am fighting all
encryption. But it relies upon the three dimensional, physical form
the time. I am fighting nature. I hate the fact that my body is already
of the object. Making this form part of the encryption system was
decaying. I am thirty-five and it is already deteriorating. I am fighting
important to me. Also, it builds in another process before you can even
to be healthy. This is nature, and it is really annoying. Maybe it is my
begin to attack the problem: In order to get the characters onto a
Dutch heritage, and I am just trying to build dykes and contain water—
computer you will actually have to physically print onto paper from
to make it do exactly what I want. There is a deep longing in me to be
that cylinder, and then scan or type the code into a device in order to
inhuman, to actually be a machine.
start analysing the code. The fact that the map is 3D printed stainless
N . S . In general, do you think that your work with computers—
steel is also my way of speaking to the monumental nature of the
indoors—prejudices the kind of thing you want to say about the
project—this map should be able to exist in hundreds of years, just as
world outside?
the artwork will remain on the island for as long or longer.
C . D . No, I don’t see this. There is no separation between an online,
N . S . Do you think there is longing for mysteries and secrets in our
digital, world and the real world. There is an interconnection to nature.
society?
More people are looking at a screen rather than looking outside the
C . D . We live in an era where everything needs to be explained. For
window—at least in Western countries. We are building a completely
most of the problems in my life I can find answers—I can find it out
new relationship to a new environment, and this environment has
online, I can just solve them. When there are things that cannot be
different rules and different systems. This context does not have less
solved so easily they become pregnant with importance. These things
value than others. They are all environments that we need to deal with.
stick with you.
We inhabit a new manmade environment which is out of our control, or
N . S . Do you think this project reflects the principles of the art
at least out of control of the general user. Taking control is one of the
world in any way?
tasks that lie ahead for everyone.
C . D . The project reflects a certain interaction with artworks, with 138
139
discussing certain vulnerabilities, going step by step, was eye-opening.
buying artworks, with systems of modification happening in the art
It was a learning curve for me, as an artist, to investigate how you
world right now. It is a very current project—what you’re saying is that
really protect data. Figuring out that you need a random number in
buying an affiliation with an artwork is almost as valuable as buying the
lone encryption generated a host of considerations: You need to have
original thing. What ensured my participation in the project is that there
access to something that creates a random number. Very often that
are so many artworks now, and it is of importance to celebrate those
number is generated by a computer chip. I learned that there is certain
that are ephemeral, that are not just ready to hang on your wall. It is
radioactive material involved in chips that, in fact, influences the
interesting that there are different qualification processes to associate
random number—and that it is easier to solve certain encryptions if
yourself, as a collector or patron, with art. The project reflects on this
you know what the chip that produced the number was made of. Just
and that is worth considering. Also, association with a story is what the
to find out how far you really have to go to protect your information, if
collector wants. The story almost becomes a commodity, and the brand
you’re talking about really important stuff, was quite scary. To learn all
names of the participating artists create the value to speculate with.
the ways data can be retrieved was shocking. If it's important enough
N . S . What is your relationship with nature like? Can this expedition
someone can always find out.
really support nature with the help of art?
The fact that you don’t know where the code starts is written
C . D . My relationship to nature is something that I am fighting all
encryption. But it relies upon the three dimensional, physical form
the time. I am fighting nature. I hate the fact that my body is already
of the object. Making this form part of the encryption system was
decaying. I am thirty-five and it is already deteriorating. I am fighting
important to me. Also, it builds in another process before you can even
to be healthy. This is nature, and it is really annoying. Maybe it is my
begin to attack the problem: In order to get the characters onto a
Dutch heritage, and I am just trying to build dykes and contain water—
computer you will actually have to physically print onto paper from
to make it do exactly what I want. There is a deep longing in me to be
that cylinder, and then scan or type the code into a device in order to
inhuman, to actually be a machine.
start analysing the code. The fact that the map is 3D printed stainless
N . S . In general, do you think that your work with computers—
steel is also my way of speaking to the monumental nature of the
indoors—prejudices the kind of thing you want to say about the
project—this map should be able to exist in hundreds of years, just as
world outside?
the artwork will remain on the island for as long or longer.
C . D . No, I don’t see this. There is no separation between an online,
N . S . Do you think there is longing for mysteries and secrets in our
digital, world and the real world. There is an interconnection to nature.
society?
More people are looking at a screen rather than looking outside the
C . D . We live in an era where everything needs to be explained. For
window—at least in Western countries. We are building a completely
most of the problems in my life I can find answers—I can find it out
new relationship to a new environment, and this environment has
online, I can just solve them. When there are things that cannot be
different rules and different systems. This context does not have less
solved so easily they become pregnant with importance. These things
value than others. They are all environments that we need to deal with.
stick with you.
We inhabit a new manmade environment which is out of our control, or
N . S . Do you think this project reflects the principles of the art
at least out of control of the general user. Taking control is one of the
world in any way?
tasks that lie ahead for everyone.
C . D . The project reflects a certain interaction with artworks, with 138
139
my head—to what extent is it about absence and to what extent is it about presence?
N . S . When considering what you might like to contribute to this buried exhibition, did you conceive of the work as something that might eventually be seen? Were you hoping that it might be experienced at a later date? O . E . In the beginning I was not really aware of the chest’s size. Immediately I thought, “How big can it be?” Can something really big disappear or does it have to fit in a box? My contribution was very much based on the question of what it means to find something. I asked myself how I could make a work that is, in a way, insignificant in scale—something that you can bury away—but which addresses something substantial or really big. I thought about the idea of the time capsule. One cannot help imagining someone eventually digging it up—and wondering, “What the heck is this?” The idea was that even
OLAFUR ELIASSON
if we say that the work has been buried it is not gone—or no longer in the world. All matter is constant, it is just that for the time being the work is in a place where it is not really accessible. It becomes a conceptual presence—and we can dig it out by thinking about it.
N A D I M S A M M A N What were your first impressions when you
The work is very present while you and I are talking about it. The
were invited to participate in this project?
performativity of the project, as we all know, is not really built into
O L A F U R E L I A S S O N I have been encouraging TBA to take on
the object. It is based on contextual activity; the way that the world
projects that are more on the periphery of what would normally be
embraces and hold hands with the object. It can be buried and you
considered as art, so my first impression was very positive—in the
can still hold hands with it.
sense that this project does not fall into the category of being a
N . S . I agree with you. With regard to what was buried. Your work
traditional exhibition. It was clear to me that it is about absence or
has an idea behind it, a concept, or at least a functional agenda. Do
about hiding, about something that you cannot see or reach. In a way,
you care to talk about this?
it is about going against the standard idea of exposure, even while the
O . E . What I buried is not a secret. It is a kind of small mobile with a
project has a lot of exposure around it. It is interesting that we are
slight planetary relationship. It is almost a model for a little solar or
having a conversation but that there is not something tangible. It is
planetary system—a kind of little universe. I thought that if something
also challenging. What is the narrative? Is it the secret? Something
should disappear into a black hole— the treasure—then it should be a
hidden? Should we be having this conversation at all if the project is
little model of a solar system made out of magnets and strings. That is
about radicalizing the idea of a secret? What type of performativity
what I meant when I said that the work is somehow really big, that it is
does the idea have? These are some of the thoughts that flew through
about everything—about the totality of the cosmos in all corners of life.
140
141
my head—to what extent is it about absence and to what extent is it about presence?
N . S . When considering what you might like to contribute to this buried exhibition, did you conceive of the work as something that might eventually be seen? Were you hoping that it might be experienced at a later date? O . E . In the beginning I was not really aware of the chest’s size. Immediately I thought, “How big can it be?” Can something really big disappear or does it have to fit in a box? My contribution was very much based on the question of what it means to find something. I asked myself how I could make a work that is, in a way, insignificant in scale—something that you can bury away—but which addresses something substantial or really big. I thought about the idea of the time capsule. One cannot help imagining someone eventually digging it up—and wondering, “What the heck is this?” The idea was that even
OLAFUR ELIASSON
if we say that the work has been buried it is not gone—or no longer in the world. All matter is constant, it is just that for the time being the work is in a place where it is not really accessible. It becomes a conceptual presence—and we can dig it out by thinking about it.
N A D I M S A M M A N What were your first impressions when you
The work is very present while you and I are talking about it. The
were invited to participate in this project?
performativity of the project, as we all know, is not really built into
O L A F U R E L I A S S O N I have been encouraging TBA to take on
the object. It is based on contextual activity; the way that the world
projects that are more on the periphery of what would normally be
embraces and hold hands with the object. It can be buried and you
considered as art, so my first impression was very positive—in the
can still hold hands with it.
sense that this project does not fall into the category of being a
N . S . I agree with you. With regard to what was buried. Your work
traditional exhibition. It was clear to me that it is about absence or
has an idea behind it, a concept, or at least a functional agenda. Do
about hiding, about something that you cannot see or reach. In a way,
you care to talk about this?
it is about going against the standard idea of exposure, even while the
O . E . What I buried is not a secret. It is a kind of small mobile with a
project has a lot of exposure around it. It is interesting that we are
slight planetary relationship. It is almost a model for a little solar or
having a conversation but that there is not something tangible. It is
planetary system—a kind of little universe. I thought that if something
also challenging. What is the narrative? Is it the secret? Something
should disappear into a black hole— the treasure—then it should be a
hidden? Should we be having this conversation at all if the project is
little model of a solar system made out of magnets and strings. That is
about radicalizing the idea of a secret? What type of performativity
what I meant when I said that the work is somehow really big, that it is
does the idea have? These are some of the thoughts that flew through
about everything—about the totality of the cosmos in all corners of life.
140
141
On the other hand, it is just a few strings and a handful of magnets. It
If someone buys this map do you think it means they necessarily
is not particularly exciting when considered in this way, but the story is
own the work buried on Coco?
interesting. Also, magnets are nice because they indicate themselves
O . E . It is a complex question. What is the value? And in what world
even if you cannot see them, through their magnetic field. They seem
are we talking about value? What currency are we trading? Is it pirate
to suggest that the area around them is important. Obviously, they
currency or art market currency? Is it career management or is it
remain magnetic even if buried. You can walk on the ground above
communication currency? Clearly there is an objective to support
them and a tiny bit of magnetism still reaches the surface. If you
the marine biologists. There is the “do good” for the sharks—which
are particularly sensitive you might feel this. There is also another
I think is funny, because sharks are always the “bad” animal and to
element to magnetism that I think is relevant. The project involved
help them is a lovely metaphor. Yes the object of raising money is
sailing, navigating and the tradition of pirates. Magnets have always
important and valuable, but let us now think about what someone
had a crucial role in the pirate narrative, because compasses contain
who buys the map gets. For a start, clearly the map is a work of art
them. Historically, our ability to navigate space and to orient ourselves
in and of itself. The truth is that not finding the buried art is probably
was very dependent on magnets. In a way, my little planetary system
better than finding it—it is stronger, more radical in its absence. It
is also about navigation—finding out about who you are, how you are,
is a bulk of smaller works by different artists, but the story within
where you are going and where you came from. I don’t mean to over
which they are embedded is more significant. It is not so much about
interpret but, generally speaking, if you need to find the treasure again
going and finding the treasure. The impossibility of the project is what
you need GPS—the contemporary successor to the magnet.
makes it interesting—the fact that you cannot find it but you know it
N . S . I am thinking about the function of what I call the exhibition
exists. Wasn’t there once a Cadillac that was buried because it was
architecture—the treasure chest. It was designed with a vacuum at
supposed to be the best made vehicle in the world? About fifty years
the center, so that the works are kept safe from humidity etc. We
later they dug it up. It had rusted, water seeped in, the seat had rotted
have digital media works on a hard drive in there, kept quite close to
away—it was full of worms and mice. Digging it up really ruined the
some incredibly strong magnets. There is, then, a sense in which the
story, because it showed that nature is stronger than culture—that
physicality of the works may still be developing within this vacuum.
the Cadillac was actually very fragile. This was, of course, counter-
O . E . I wonder whether today’s hard drives are sensitive to magnets.
intuitive to the dream. I think that what we have here is a dream, that
N . S . You also brought up GPS. We have taken the GPS coordinates of
what we actually call treasure is the little bit of space in which we
where the exhibition architecture was buried on Coco. In actual fact
can dream—thinking about things that we cannot hold in our hands.
we had to take an average from a number of GPS devices, because
The truth is that the artworld has been so obsessed with organizing,
each has a varying degree of accuracy. The resulting coordinates
systematizing, and rationalizing the way we dream. Museums are
have now been encrypted and given a physical form as a 3D printed
very predictable and affirmative, totally defined dream machines.
steel cylinder, which is a kind of contemporary treasure map. That
You think that you go into them to dream but actually you are told
map ultimately goes on sale to raise money for a shark research
what to think. They have become predictable and to a great extent the
and conservation project that we have initiated, but the buyer does
general artworld has become adapted to its own success criteria. It
not get the de-encryption key. So they have a code that is extremely
has become defined by a sad relationship with the economy. So, here
difficult to crack. This is a question about the politics of ownership:
we have a project which somehow taps into the things that we are not
142
143
On the other hand, it is just a few strings and a handful of magnets. It
If someone buys this map do you think it means they necessarily
is not particularly exciting when considered in this way, but the story is
own the work buried on Coco?
interesting. Also, magnets are nice because they indicate themselves
O . E . It is a complex question. What is the value? And in what world
even if you cannot see them, through their magnetic field. They seem
are we talking about value? What currency are we trading? Is it pirate
to suggest that the area around them is important. Obviously, they
currency or art market currency? Is it career management or is it
remain magnetic even if buried. You can walk on the ground above
communication currency? Clearly there is an objective to support
them and a tiny bit of magnetism still reaches the surface. If you
the marine biologists. There is the “do good” for the sharks—which
are particularly sensitive you might feel this. There is also another
I think is funny, because sharks are always the “bad” animal and to
element to magnetism that I think is relevant. The project involved
help them is a lovely metaphor. Yes the object of raising money is
sailing, navigating and the tradition of pirates. Magnets have always
important and valuable, but let us now think about what someone
had a crucial role in the pirate narrative, because compasses contain
who buys the map gets. For a start, clearly the map is a work of art
them. Historically, our ability to navigate space and to orient ourselves
in and of itself. The truth is that not finding the buried art is probably
was very dependent on magnets. In a way, my little planetary system
better than finding it—it is stronger, more radical in its absence. It
is also about navigation—finding out about who you are, how you are,
is a bulk of smaller works by different artists, but the story within
where you are going and where you came from. I don’t mean to over
which they are embedded is more significant. It is not so much about
interpret but, generally speaking, if you need to find the treasure again
going and finding the treasure. The impossibility of the project is what
you need GPS—the contemporary successor to the magnet.
makes it interesting—the fact that you cannot find it but you know it
N . S . I am thinking about the function of what I call the exhibition
exists. Wasn’t there once a Cadillac that was buried because it was
architecture—the treasure chest. It was designed with a vacuum at
supposed to be the best made vehicle in the world? About fifty years
the center, so that the works are kept safe from humidity etc. We
later they dug it up. It had rusted, water seeped in, the seat had rotted
have digital media works on a hard drive in there, kept quite close to
away—it was full of worms and mice. Digging it up really ruined the
some incredibly strong magnets. There is, then, a sense in which the
story, because it showed that nature is stronger than culture—that
physicality of the works may still be developing within this vacuum.
the Cadillac was actually very fragile. This was, of course, counter-
O . E . I wonder whether today’s hard drives are sensitive to magnets.
intuitive to the dream. I think that what we have here is a dream, that
N . S . You also brought up GPS. We have taken the GPS coordinates of
what we actually call treasure is the little bit of space in which we
where the exhibition architecture was buried on Coco. In actual fact
can dream—thinking about things that we cannot hold in our hands.
we had to take an average from a number of GPS devices, because
The truth is that the artworld has been so obsessed with organizing,
each has a varying degree of accuracy. The resulting coordinates
systematizing, and rationalizing the way we dream. Museums are
have now been encrypted and given a physical form as a 3D printed
very predictable and affirmative, totally defined dream machines.
steel cylinder, which is a kind of contemporary treasure map. That
You think that you go into them to dream but actually you are told
map ultimately goes on sale to raise money for a shark research
what to think. They have become predictable and to a great extent the
and conservation project that we have initiated, but the buyer does
general artworld has become adapted to its own success criteria. It
not get the de-encryption key. So they have a code that is extremely
has become defined by a sad relationship with the economy. So, here
difficult to crack. This is a question about the politics of ownership:
we have a project which somehow taps into the things that we are not
142
143
in full control of. We should probably take on more things that are out
follow through, to consider what type of responsibility codex you have
of control. I like that. That is the quality of the project.
installed, and how then to translate this into ideological action is an
N . S . How important is this dream, or space of freedom apart from
interesting question.
institutional validations or currencies, in your work?
N . S . When it comes to what people sometimes refer to as
O . E . I have an interest in addressing matters of possibility and
intellectual property—data, for instance—you have this term “piracy”
impossibility. If you only live in the artworld you can nurture and
associated with those people who take something and use it for
criticize it, and evaluate how to make it more interesting, radical, and
their own purposes, outside established structures. Where do you
relevant. But we also have to ask, relevant to who? It is incredibly
stand on the idea that “information wants to be free”? Do you think
important to make projects that somehow reorganize the artworld,
that the pirate movement in terms of information is close to art?
but to a greater extent we must also address concerns beyond it. When
O . E . It is difficult to generalize about the pirate movements. I
I talk about how we need to have space to be irrational, to dream, to
think the time when there were generic rules that one could apply
reconsider the ways we do things, I do not mean in the art world alone.
to large systems is over. We are now in a situation where complex
I mean all the worlds that we inhabit. I hope that when I work I am
systems need complex guidelines. I would not want to put myself in a
taking those types of ideas into consideration.
policeman’s role to say what is good or bad piracy. It seems to me that
N . S . Have you read Treasure Island? If so, do you identify more with
it is very dependent on the local situation. However, when it comes to
the “good” character Jim Hawkins or perhaps with the pirates?
human rights and the liberty to have access to your own information,
O . E . I think that Treasure Island had a moral narrative built into
to know who is surveilling you or not, ownership is important. There
it. I do not know if, today, polarized moral positions are as relevant.
are situations where it is important to prevent total transparency,
The question is this: Who, and with what effort, reconsiders the
to prevent others from being able to look into everything, as a kind
moral structures built into all narratives? Suggesting that we should
of democratic measure. On the other hand, you have demands for a
reconsider the value chain in which a treasure is kept is interesting.
kind of totally open democracy—which, of course, very quickly lends
In relation to what we are doing today—I would see Treasure Island
itself to anarchy. Navigating this is a complex challenge, but clearly
as a model of reality, a mirror in which we can evaluate the systems
everything can be taken into the discussion about what basic human
in which we are embedded today. I am interested in model making. If
rights should be. Discussions about piracy relate to the rights of the
I were to consider myself in relation to the Treasure Island system I
person.
would be the co-author or general narrative writer. I am a model maker.
N.S.
We are talking about access to and exclusion from
We use models of reality as stepping stones—we go from one to the
information—a certain sense of conservation. Let us map that onto
other. I think it is very important to encourage the subversive nature
the island itself: It is a national park. You can only go there with a
of the suggestion that reality is negotiable; reality is relative, and we
permit. Only two companies have licenses to run a dive operation
can change it. Art is not the only thing that is important, we must also
there. Nobody sleeps on the island, they only sleep on the boats.
consider the way that art is communicated, handled, treasured, kept
We are the only people to have ever asked for permission to bury
or not kept. Somebody has to take that responsibility and radicalize
a treasure on the island. In a sense you could even view the chest
it. Going to Coco and actually burying the treasure is pretty radical—
as a bit of pollution that we have left there. Do you think the Costa
thinking about it is one thing but doing it is clearly something else. To
Rican park authorities made the right decision to let us bury this
14 4
145
in full control of. We should probably take on more things that are out
follow through, to consider what type of responsibility codex you have
of control. I like that. That is the quality of the project.
installed, and how then to translate this into ideological action is an
N . S . How important is this dream, or space of freedom apart from
interesting question.
institutional validations or currencies, in your work?
N . S . When it comes to what people sometimes refer to as
O . E . I have an interest in addressing matters of possibility and
intellectual property—data, for instance—you have this term “piracy”
impossibility. If you only live in the artworld you can nurture and
associated with those people who take something and use it for
criticize it, and evaluate how to make it more interesting, radical, and
their own purposes, outside established structures. Where do you
relevant. But we also have to ask, relevant to who? It is incredibly
stand on the idea that “information wants to be free”? Do you think
important to make projects that somehow reorganize the artworld,
that the pirate movement in terms of information is close to art?
but to a greater extent we must also address concerns beyond it. When
O . E . It is difficult to generalize about the pirate movements. I
I talk about how we need to have space to be irrational, to dream, to
think the time when there were generic rules that one could apply
reconsider the ways we do things, I do not mean in the art world alone.
to large systems is over. We are now in a situation where complex
I mean all the worlds that we inhabit. I hope that when I work I am
systems need complex guidelines. I would not want to put myself in a
taking those types of ideas into consideration.
policeman’s role to say what is good or bad piracy. It seems to me that
N . S . Have you read Treasure Island? If so, do you identify more with
it is very dependent on the local situation. However, when it comes to
the “good” character Jim Hawkins or perhaps with the pirates?
human rights and the liberty to have access to your own information,
O . E . I think that Treasure Island had a moral narrative built into
to know who is surveilling you or not, ownership is important. There
it. I do not know if, today, polarized moral positions are as relevant.
are situations where it is important to prevent total transparency,
The question is this: Who, and with what effort, reconsiders the
to prevent others from being able to look into everything, as a kind
moral structures built into all narratives? Suggesting that we should
of democratic measure. On the other hand, you have demands for a
reconsider the value chain in which a treasure is kept is interesting.
kind of totally open democracy—which, of course, very quickly lends
In relation to what we are doing today—I would see Treasure Island
itself to anarchy. Navigating this is a complex challenge, but clearly
as a model of reality, a mirror in which we can evaluate the systems
everything can be taken into the discussion about what basic human
in which we are embedded today. I am interested in model making. If
rights should be. Discussions about piracy relate to the rights of the
I were to consider myself in relation to the Treasure Island system I
person.
would be the co-author or general narrative writer. I am a model maker.
N.S.
We are talking about access to and exclusion from
We use models of reality as stepping stones—we go from one to the
information—a certain sense of conservation. Let us map that onto
other. I think it is very important to encourage the subversive nature
the island itself: It is a national park. You can only go there with a
of the suggestion that reality is negotiable; reality is relative, and we
permit. Only two companies have licenses to run a dive operation
can change it. Art is not the only thing that is important, we must also
there. Nobody sleeps on the island, they only sleep on the boats.
consider the way that art is communicated, handled, treasured, kept
We are the only people to have ever asked for permission to bury
or not kept. Somebody has to take that responsibility and radicalize
a treasure on the island. In a sense you could even view the chest
it. Going to Coco and actually burying the treasure is pretty radical—
as a bit of pollution that we have left there. Do you think the Costa
thinking about it is one thing but doing it is clearly something else. To
Rican park authorities made the right decision to let us bury this
14 4
145
thing in their national park? What do you think the stakes are in
inspiring—is the idea that we are all nature and there is no culture. We,
working with an institution like that in order to make this gesture?
as people—and even our technologies—are nature. A few people have
O . E . I think it is interesting to say that I do not know whether the
forced this idea that we are all objects and that there are no subjects.
Costa Rican authorities made the right decision in allowing you to
There is a very strong argument here that introduces a type of ecology
bury the treasure. Asking was maybe already a mistake. The truth
where there is no outside. You cannot step out of the world and look
is, it depends. Generally speaking, it is an exciting project because it
at it from a distance. You are a part of nature. Everything you do has
somehow facilitates making the impossible possible. Then it is more or
consequences, and everything that nature does has consequences.
less pragmatic. Asking or not asking is just a detail, in a way. The project
The wind blows me over and I blow the wind back. I am a part of the
is more about the grander narrative: The fact that somebody takes
wind—there is no difference between us. There is a whole new school
the risk of doing something. Clearly we are all talking. We are talking
of eco-criticism that introduces a language that I find highly inspiring.
now; everybody is talking. There is a lot of talking—everybody knows
It is within that language that I think it is interesting to create an
everything but not a lot of people actually do things. The artworld is
artistic discourse, such as the one we are developing here. I do not
made up of doing things: you have an idea, you make a work of art—
think we are burying a piece of culture within nature. I do not think
that is doing. Then you bring it to a museum. That is another doing. I
it is necessarily just art, but natural stuff going back into nature. Of
often speak of art as a way of connecting thinking to doing. This is
course it is polluting—less polluting than it could have been—but by all
what art has always been about. You have a feeling, you verbalize it,
means nature is also polluting. The question is how do we successfully
you modelize it, you sculpt it, you do it. Art is a sort of activistic model,
navigate being nature.
but we also have to recognize that the artworld has its limitations. It is self-obsessed, there is a lot of egocentrism, it has a very foul economy, there is counterproductive communication, and it is being filled up with very conservative, affirmative stuff. It is not a very interesting doing, but when compared to politics—talking and doing the opposite— or the economy, perhaps it is a little bit better. What I think is great about this project is that it lends itself to the consideration of how we think about the responsibilities that we have, and how we then go on to do something. It is almost like a love story. It is about taking thinking into doing.
N . S . There is obviously a clear ecological thread running through the project. What do you think about this ecological aspect? How important is ecology in your approach to art? O . E . There is a new eco-criticism gaining strength. It is not really the traditional, predictable, criticality. It is a kind of reevaluation of the terminology and the effort with which we address ecology. As far as I can tell, one of the significant changes—and I find this really 146
147
thing in their national park? What do you think the stakes are in
inspiring—is the idea that we are all nature and there is no culture. We,
working with an institution like that in order to make this gesture?
as people—and even our technologies—are nature. A few people have
O . E . I think it is interesting to say that I do not know whether the
forced this idea that we are all objects and that there are no subjects.
Costa Rican authorities made the right decision in allowing you to
There is a very strong argument here that introduces a type of ecology
bury the treasure. Asking was maybe already a mistake. The truth
where there is no outside. You cannot step out of the world and look
is, it depends. Generally speaking, it is an exciting project because it
at it from a distance. You are a part of nature. Everything you do has
somehow facilitates making the impossible possible. Then it is more or
consequences, and everything that nature does has consequences.
less pragmatic. Asking or not asking is just a detail, in a way. The project
The wind blows me over and I blow the wind back. I am a part of the
is more about the grander narrative: The fact that somebody takes
wind—there is no difference between us. There is a whole new school
the risk of doing something. Clearly we are all talking. We are talking
of eco-criticism that introduces a language that I find highly inspiring.
now; everybody is talking. There is a lot of talking—everybody knows
It is within that language that I think it is interesting to create an
everything but not a lot of people actually do things. The artworld is
artistic discourse, such as the one we are developing here. I do not
made up of doing things: you have an idea, you make a work of art—
think we are burying a piece of culture within nature. I do not think
that is doing. Then you bring it to a museum. That is another doing. I
it is necessarily just art, but natural stuff going back into nature. Of
often speak of art as a way of connecting thinking to doing. This is
course it is polluting—less polluting than it could have been—but by all
what art has always been about. You have a feeling, you verbalize it,
means nature is also polluting. The question is how do we successfully
you modelize it, you sculpt it, you do it. Art is a sort of activistic model,
navigate being nature.
but we also have to recognize that the artworld has its limitations. It is self-obsessed, there is a lot of egocentrism, it has a very foul economy, there is counterproductive communication, and it is being filled up with very conservative, affirmative stuff. It is not a very interesting doing, but when compared to politics—talking and doing the opposite— or the economy, perhaps it is a little bit better. What I think is great about this project is that it lends itself to the consideration of how we think about the responsibilities that we have, and how we then go on to do something. It is almost like a love story. It is about taking thinking into doing.
N . S . There is obviously a clear ecological thread running through the project. What do you think about this ecological aspect? How important is ecology in your approach to art? O . E . There is a new eco-criticism gaining strength. It is not really the traditional, predictable, criticality. It is a kind of reevaluation of the terminology and the effort with which we address ecology. As far as I can tell, one of the significant changes—and I find this really 146
147
ten years later I began to come again. It was then that I saw the people: the treasure hunters. Eventually I managed to join an expedition—I was the only Costa Rican guy.
N . S . What was the name of the expedition? P. M . G . It was led by Mr Sir Charles Baldwin. Originally his family were from England but he lived in California. Through him I came to know many things. One of those things was that he was the great grandson of James J Thompson… .
N . S . And who was James Thompson? P. M . G . He was a businessman who inherited some papers from his family. I don’t know whether they were from his father or his grandfather. He got a lot of very old papers, and they were supposed to be related to a treasure.
N . S . Did you know much about the treasure stories of Coco before this?
PEPE MONGE GARCIA
P. M . G . I heard all kinds of stories because I live in Puntarenas. Puntarenas is a harbor, full of very old people, many have passed through, but only talking—nothing proven.
N . S . What was it like on this expedition? What was the atmosphere? N A D I M S A M M A N When did you first come to Coco? How did you
P. M . G . It was really friendly. Mr Charles put together the team
come here and how long were you working before you went on your
because he was very sure that, with the papers, he could find the
first treasure hunting expedition?
treasure. He had looked all over the world to find the best people for
P E P E M O N G E G A R C I A Many years ago I was fishing tuna and
diving, archaeology, geology, and marine biology. He made a big team
came here with my grandfather. At that time there were only five
of around twenty-seven people. All kinds—he wanted a lot of people
or six fishing boats that ever visited the island. This was before GPS.
with different skills to help him.
We came from Costa Rica and navigated using compass and sextant,
N . S . How many boats were there?
checking every twelve hours. Getting here was really very difficult so
P. M . G . Just one big motor ship—the Energy Line. It was a kind of
we never came alone. Normally we sailed from Puntarenas, two or
supply vessel. He bought it just to come to Coco to find the treasure.
three boats together—just in case something happened. We would fish
N . S . Did he pay for all of this himself or did he have investors?
yellow fin tuna. At the time we only used small fishing lines, and there
P. M . G . Everything was from him, because he was a very rich man
was nobody on the island.
who owned a big construction company in the States. Because of this
N . S . What year was that?
business he had everything—cranes, backups, models, engines, water
P. M . G . 1977—I was really young. After that I came again with some
pumps, generators. Everything. This was in 1985.
fishermen, but it was not my time so I eventually changed my job. About
N . S . What was your job?
148
149
ten years later I began to come again. It was then that I saw the people: the treasure hunters. Eventually I managed to join an expedition—I was the only Costa Rican guy.
N . S . What was the name of the expedition? P. M . G . It was led by Mr Sir Charles Baldwin. Originally his family were from England but he lived in California. Through him I came to know many things. One of those things was that he was the great grandson of James J Thompson… .
N . S . And who was James Thompson? P. M . G . He was a businessman who inherited some papers from his family. I don’t know whether they were from his father or his grandfather. He got a lot of very old papers, and they were supposed to be related to a treasure.
N . S . Did you know much about the treasure stories of Coco before this?
PEPE MONGE GARCIA
P. M . G . I heard all kinds of stories because I live in Puntarenas. Puntarenas is a harbor, full of very old people, many have passed through, but only talking—nothing proven.
N . S . What was it like on this expedition? What was the atmosphere? N A D I M S A M M A N When did you first come to Coco? How did you
P. M . G . It was really friendly. Mr Charles put together the team
come here and how long were you working before you went on your
because he was very sure that, with the papers, he could find the
first treasure hunting expedition?
treasure. He had looked all over the world to find the best people for
P E P E M O N G E G A R C I A Many years ago I was fishing tuna and
diving, archaeology, geology, and marine biology. He made a big team
came here with my grandfather. At that time there were only five
of around twenty-seven people. All kinds—he wanted a lot of people
or six fishing boats that ever visited the island. This was before GPS.
with different skills to help him.
We came from Costa Rica and navigated using compass and sextant,
N . S . How many boats were there?
checking every twelve hours. Getting here was really very difficult so
P. M . G . Just one big motor ship—the Energy Line. It was a kind of
we never came alone. Normally we sailed from Puntarenas, two or
supply vessel. He bought it just to come to Coco to find the treasure.
three boats together—just in case something happened. We would fish
N . S . Did he pay for all of this himself or did he have investors?
yellow fin tuna. At the time we only used small fishing lines, and there
P. M . G . Everything was from him, because he was a very rich man
was nobody on the island.
who owned a big construction company in the States. Because of this
N . S . What year was that?
business he had everything—cranes, backups, models, engines, water
P. M . G . 1977—I was really young. After that I came again with some
pumps, generators. Everything. This was in 1985.
fishermen, but it was not my time so I eventually changed my job. About
N . S . What was your job?
148
149
P. M . G . When I started he asked me if I could drive a skiff, and if I
the bag and passed them, he looked and started to move the compass
knew the island. I said, “Yes. I was there before.” During cruising I
again. Then said, “Okay we need to find another one.” “I think we need
was helping the guys, the crew-members, and when we arrived I was
to go there,” he said, pointing across the beach. But that was another
Mr Charles’ personal driver. In the beginning we took a small skiff, Mr
day, because it was already evening and Mr Charles was not so young.
Charles and me, and he said, “Okay, I want to go there. I want to see
N . S . Did you find the second one?
this, that, and… .” I was very close to him. I don’t know why.
P. M . G . Yes. It was the same, a lot of rocks near two small coconut
N . S . Did he bring a map with him?
trees. It was really easy.
P. M . G . He had big bag, and inside it there were lots of very old papers.
N . S . Did he tell you how many arrows there were to find?
I saw them many times because he was always asking, “Pepe, can you
P. M . G . He showed me another page and said that we need to find
pass me the paper?” I saw that the paper was very old, the writing
three. He also showed another paper with the island’s coastline to
too. They were kept in plastic. All the time he told me—I was carrying
some other people. They had different pages with the coastline over
the bag—“Pepe, my papers.” He was always carrying a compass, a
time—one with its 1800 coastline in green ink, another from 1825 in
very nice big compass. Whenever I gave him a paper he opened the
yellow, 1850, 1875, and 1900. They put them on top of each other on a
compass, started to read the paper, and looked at the compass.
big glass table and compared them. They could tell how the coast had
N . S . Was it just maps or were there other kinds of instructions?
changed in 200 years. After discussing they decided on the point. We
P. M . G . Most of the papers were letters. He read them all the time. I
went there to look for an arrow on a big old iron tree, but the tree was
saw only one map, with a very old picture of the island’s coastline that
no longer there. But Mr Charles was really sure we were in the right
I recognized. One of the things that I saw was arrow symbols. On the
place so he made some calculations from the point where the tree
map there was some little writing. We went looking for arrows on the
was supposed to be. It was a triangulation. He calculated where we
beach at Chatham. Eventually we found some, carved into rocks.
needed to dig.
N . S . Did you know where to look or did you just search everywhere?
N . S . How long did you dig for? How deep was it? What happened
P. M . G . When we arrived—I don’t know why or how, but he was really
then?
sure—Mr Charles knew where he wanted to go. He said that according
P. M . G . We dug for many days. It was very difficult because we needed
to the papers where we were used to be land but now wasn’t. I never
to work with the tide. It was really hard to keep it from collapsing. We
saw a location in the papers, just marks. He was reading all the time.
had to put steel beams around it to support the sand. I remember that
We walked around the beach for a bit and he showed me one of the
on the first day we began around midday, and after three hours the tide
arrows and said, “Pepe, we need to find something like this.” It was
started to come in. The next morning it had completely filled up and
just me and him walking. He told me to take my time and to check
so we had to start again. It was really hard. It took us around ten days
every rock one by one. We were there for about four or five hours and
just to put in the pieces of steel. We brought a crane to the island and a
then I found it.
backup to do this. We also had to have big water pumps that were run by
N . S . What happened then?
a generator sitting on a floating buoy. It was really hard.
P. M . G . I said, “Hey, Mr Charles, something like this?” and he smiled.
N . S . Did you have metal detector?
He didn’t say anything. He just smiled. He sat on the rock, opened his
P. M . G . I remember helping one man who used a steel box connected
shirt, took out his compass and said, “Pass me my papers.” I opened
to a steel stick. He told me not to breathe, and only to do so when we
150
151
P. M . G . When I started he asked me if I could drive a skiff, and if I
the bag and passed them, he looked and started to move the compass
knew the island. I said, “Yes. I was there before.” During cruising I
again. Then said, “Okay we need to find another one.” “I think we need
was helping the guys, the crew-members, and when we arrived I was
to go there,” he said, pointing across the beach. But that was another
Mr Charles’ personal driver. In the beginning we took a small skiff, Mr
day, because it was already evening and Mr Charles was not so young.
Charles and me, and he said, “Okay, I want to go there. I want to see
N . S . Did you find the second one?
this, that, and… .” I was very close to him. I don’t know why.
P. M . G . Yes. It was the same, a lot of rocks near two small coconut
N . S . Did he bring a map with him?
trees. It was really easy.
P. M . G . He had big bag, and inside it there were lots of very old papers.
N . S . Did he tell you how many arrows there were to find?
I saw them many times because he was always asking, “Pepe, can you
P. M . G . He showed me another page and said that we need to find
pass me the paper?” I saw that the paper was very old, the writing
three. He also showed another paper with the island’s coastline to
too. They were kept in plastic. All the time he told me—I was carrying
some other people. They had different pages with the coastline over
the bag—“Pepe, my papers.” He was always carrying a compass, a
time—one with its 1800 coastline in green ink, another from 1825 in
very nice big compass. Whenever I gave him a paper he opened the
yellow, 1850, 1875, and 1900. They put them on top of each other on a
compass, started to read the paper, and looked at the compass.
big glass table and compared them. They could tell how the coast had
N . S . Was it just maps or were there other kinds of instructions?
changed in 200 years. After discussing they decided on the point. We
P. M . G . Most of the papers were letters. He read them all the time. I
went there to look for an arrow on a big old iron tree, but the tree was
saw only one map, with a very old picture of the island’s coastline that
no longer there. But Mr Charles was really sure we were in the right
I recognized. One of the things that I saw was arrow symbols. On the
place so he made some calculations from the point where the tree
map there was some little writing. We went looking for arrows on the
was supposed to be. It was a triangulation. He calculated where we
beach at Chatham. Eventually we found some, carved into rocks.
needed to dig.
N . S . Did you know where to look or did you just search everywhere?
N . S . How long did you dig for? How deep was it? What happened
P. M . G . When we arrived—I don’t know why or how, but he was really
then?
sure—Mr Charles knew where he wanted to go. He said that according
P. M . G . We dug for many days. It was very difficult because we needed
to the papers where we were used to be land but now wasn’t. I never
to work with the tide. It was really hard to keep it from collapsing. We
saw a location in the papers, just marks. He was reading all the time.
had to put steel beams around it to support the sand. I remember that
We walked around the beach for a bit and he showed me one of the
on the first day we began around midday, and after three hours the tide
arrows and said, “Pepe, we need to find something like this.” It was
started to come in. The next morning it had completely filled up and
just me and him walking. He told me to take my time and to check
so we had to start again. It was really hard. It took us around ten days
every rock one by one. We were there for about four or five hours and
just to put in the pieces of steel. We brought a crane to the island and a
then I found it.
backup to do this. We also had to have big water pumps that were run by
N . S . What happened then?
a generator sitting on a floating buoy. It was really hard.
P. M . G . I said, “Hey, Mr Charles, something like this?” and he smiled.
N . S . Did you have metal detector?
He didn’t say anything. He just smiled. He sat on the rock, opened his
P. M . G . I remember helping one man who used a steel box connected
shirt, took out his compass and said, “Pass me my papers.” I opened
to a steel stick. He told me not to breathe, and only to do so when we
150
151
heard a peeping sound. Inside there was a kind of computer.
N . S . So it was clear that the equipment wasn't up to the task of
N . S . Did Charles ever tell you exactly what he was looking for?
recovering it, even if it was there. When was the moment where it
What the treasure was?
was decided that the search would be given up? Did you discuss
P. M . G . He said it was gold, pearls, sapphires, rubies—many things.
returning with better equipment?
N . S . Did he say that he would give you some of it?
P. M . G . Mr Charles said, “Okay, stop. We can do nothing. We are not
P. M . G . Two times. We were the only two persons on the boat who
prepared enough. We cannot do it now, but we need to come back
smoked. He had a pipe, and a couple of times when we were on a break
because I know it's here.” When we arrived back in Puntarenas he
he said to me, “Pepe, if we find this then you, your son, your daughter,
said that he wanted to return. After five or six months he came back
your grandson, your great grandson—they will never need to work, just
to Costa Rica, and I saw him at Caldera Harbour. He said, “Pepe, I am
study.”
sorry but we cannot do it because the government will not give me
N . S . How long did it take after digging the hole before the expedition
another permit.” It was around that time that the government was
ended?
talking about Cocos Island being a national park.
P. M . G . We were here for two months and three weeks.
N . S . Did you ever consider finding some Costa Ricans to look for it
N . S . Did you dig any other holes?
with you? To partner with someone else to sell your knowledge to
P. M . G . Only one.
somebody?
N . S . What was it like when it started to become clear that maybe
P. M . G . The hole was there so everybody knew about it. It just that
you weren't going to find this treasure?
there was no more permission. It’s a disaster.
P. M . G . We found some things in the hole. First we found two very old
N . S . Then how long after that did it take for you to return to Coco?
bottles and three door hinges. One of the hinges was connected to a
P. M . G . When I started working for the Undersea Hunter company in
piece of wood. A Japanese man who was in charge of many things
1997, about twelve years later.
took it to the boat’s lab, and after three hours they knew that the wood
N . S . In your time working with this company, has anyone ever tried
could have only come from Spain or Portugal. In the old days they used
to look for treasure in a serious way—or in secret—that you know
this kind of wood to make chests. After that we found a piece of gold
about?
chain. That was all.
P. M . G . When I was working on one of the dive trips two old Russian
N . S . You kept digging and digging?
guys came along but they were not divers. The Captain told me that
P. M . G . We continued for a long time and the hole got very deep, but
they wanted a photo tour between the dives. I put them in the skiff,
after a while mistakes started to happen. One the arms on our backhoe
but they brought some things with them. They asked me to take them
was short so we changed it for another, but even that was not long
to three specific places—one was close to the hole. They also talked
enough. The water pumps started to break one after the other because
about a big stone and told me to move close to a rock. They were up to
we had them running day and night. Mr Charles was always sitting on
something. Every day of the seven-day trip they asked to go back to the
a rock with his notebook. He started to say that we had made some
same place, more or less within around a twenty meter area, and I just
miscalculations—that we did not think about the treasure’s weight, and
kept the skiff still. They had some electric apparatus with them; the
that after 200 years in the sand it would not be just three or four meters
only thing that I heard was a peep-peep, peep-peep sound. That was
underground. He realized that it had been sinking all that time.
all. I don’t know what they were doing because they never showed
152
153
heard a peeping sound. Inside there was a kind of computer.
N . S . So it was clear that the equipment wasn't up to the task of
N . S . Did Charles ever tell you exactly what he was looking for?
recovering it, even if it was there. When was the moment where it
What the treasure was?
was decided that the search would be given up? Did you discuss
P. M . G . He said it was gold, pearls, sapphires, rubies—many things.
returning with better equipment?
N . S . Did he say that he would give you some of it?
P. M . G . Mr Charles said, “Okay, stop. We can do nothing. We are not
P. M . G . Two times. We were the only two persons on the boat who
prepared enough. We cannot do it now, but we need to come back
smoked. He had a pipe, and a couple of times when we were on a break
because I know it's here.” When we arrived back in Puntarenas he
he said to me, “Pepe, if we find this then you, your son, your daughter,
said that he wanted to return. After five or six months he came back
your grandson, your great grandson—they will never need to work, just
to Costa Rica, and I saw him at Caldera Harbour. He said, “Pepe, I am
study.”
sorry but we cannot do it because the government will not give me
N . S . How long did it take after digging the hole before the expedition
another permit.” It was around that time that the government was
ended?
talking about Cocos Island being a national park.
P. M . G . We were here for two months and three weeks.
N . S . Did you ever consider finding some Costa Ricans to look for it
N . S . Did you dig any other holes?
with you? To partner with someone else to sell your knowledge to
P. M . G . Only one.
somebody?
N . S . What was it like when it started to become clear that maybe
P. M . G . The hole was there so everybody knew about it. It just that
you weren't going to find this treasure?
there was no more permission. It’s a disaster.
P. M . G . We found some things in the hole. First we found two very old
N . S . Then how long after that did it take for you to return to Coco?
bottles and three door hinges. One of the hinges was connected to a
P. M . G . When I started working for the Undersea Hunter company in
piece of wood. A Japanese man who was in charge of many things
1997, about twelve years later.
took it to the boat’s lab, and after three hours they knew that the wood
N . S . In your time working with this company, has anyone ever tried
could have only come from Spain or Portugal. In the old days they used
to look for treasure in a serious way—or in secret—that you know
this kind of wood to make chests. After that we found a piece of gold
about?
chain. That was all.
P. M . G . When I was working on one of the dive trips two old Russian
N . S . You kept digging and digging?
guys came along but they were not divers. The Captain told me that
P. M . G . We continued for a long time and the hole got very deep, but
they wanted a photo tour between the dives. I put them in the skiff,
after a while mistakes started to happen. One the arms on our backhoe
but they brought some things with them. They asked me to take them
was short so we changed it for another, but even that was not long
to three specific places—one was close to the hole. They also talked
enough. The water pumps started to break one after the other because
about a big stone and told me to move close to a rock. They were up to
we had them running day and night. Mr Charles was always sitting on
something. Every day of the seven-day trip they asked to go back to the
a rock with his notebook. He started to say that we had made some
same place, more or less within around a twenty meter area, and I just
miscalculations—that we did not think about the treasure’s weight, and
kept the skiff still. They had some electric apparatus with them; the
that after 200 years in the sand it would not be just three or four meters
only thing that I heard was a peep-peep, peep-peep sound. That was
underground. He realized that it had been sinking all that time.
all. I don’t know what they were doing because they never showed
152
153
me anything, and the moment they were finished they put it back in a bag. After that trip I went back to Puntarenas, and when I returned to Coco on the next trip I was surprised to find that these two old men were back. They took a second trip in a row and we did it all over again. Eventually they told me they wanted to get a government permit and come back with a big ship. I never saw them again.
N . S . What do you think about our project? P. M . G . Honest? N . S . Please be very honest. P. M . G . I like it. For me it is another spirit. It’s like what I told you this
FERNANDO QUIROS BRENES
evening when we were on the skiff: Maybe when I am eighty-five or ninety years old I can tell my grandson, “Do you know what? I was part of one trip and… .” Just a little story. Maybe names—I don’t know—but not where. Just, “One day, on the island… .”
N A D I M S A M M A N There are a lot of stories about buried treasure on Isla del Coco. In recent years the park has tried to stop people looking for buried treasure. Can you tell me something about the history of treasure hunting in your time as the Director of the Coco National Park? F E R N A N D O Q U I R O S B R E N E S There are three main treasures that are the focus of most of the legends. The first is the Treasure of Lima. I personally think that this treasure never arrived on the island. There is certainly a lot of information about it, but this is my opinion.
N . S . What are the two other main treasures? And why don’t you think the Treasure of Lima was ever here? F. Q . B . With regard to the Treasure of Lima—there are many stories, but I think it is more likely that its riches were spent during the Peruvian War of Independence. The main reason to think this is because there have been more than 200 expeditions intent on finding it since then. 154
155
me anything, and the moment they were finished they put it back in a bag. After that trip I went back to Puntarenas, and when I returned to Coco on the next trip I was surprised to find that these two old men were back. They took a second trip in a row and we did it all over again. Eventually they told me they wanted to get a government permit and come back with a big ship. I never saw them again.
N . S . What do you think about our project? P. M . G . Honest? N . S . Please be very honest. P. M . G . I like it. For me it is another spirit. It’s like what I told you this
FERNANDO QUIROS BRENES
evening when we were on the skiff: Maybe when I am eighty-five or ninety years old I can tell my grandson, “Do you know what? I was part of one trip and… .” Just a little story. Maybe names—I don’t know—but not where. Just, “One day, on the island… .”
N A D I M S A M M A N There are a lot of stories about buried treasure on Isla del Coco. In recent years the park has tried to stop people looking for buried treasure. Can you tell me something about the history of treasure hunting in your time as the Director of the Coco National Park? F E R N A N D O Q U I R O S B R E N E S There are three main treasures that are the focus of most of the legends. The first is the Treasure of Lima. I personally think that this treasure never arrived on the island. There is certainly a lot of information about it, but this is my opinion.
N . S . What are the two other main treasures? And why don’t you think the Treasure of Lima was ever here? F. Q . B . With regard to the Treasure of Lima—there are many stories, but I think it is more likely that its riches were spent during the Peruvian War of Independence. The main reason to think this is because there have been more than 200 expeditions intent on finding it since then. 154
155
Even more recently, despite all the technology employed in various
a serious case then there is an open space in the law to allow for it.
searches, and all the effort, nobody found anything.
N . S . How can one present a serious proposal if you haven't been
N . S . What of the other two treasures?
here first? Does it all have to be done by satellite? Don’t you have
F. Q . B . The other two famous stories relate to the treasure of Captain
to check the island out in person in order to present a proposal?
William Davis, and another pirate called Benito “Bloody Sword” Bonito.
If this is the case, do you give permission for people to come for
There has also been lots of talk but not really any physical proof
reconnaissance while preparing their proposals?
matching up to the ideas that people arrived on Coco with. Those that
F. Q . B . If it is a project that is presented in a very professional way
came to look for these treasures always became very disappointed
with serious technology then this will be possible. Lately, however, the
that they didn’t find a mark, a sign that conformed to anything on
proposals that we have received have not been very serious.
their treasure maps. There have been some serious professional
N . S . The important question at this point is why would the
treasure hunting companies with access to Coco and even they
government be interested in considering any proposals? Would it
failed. Recently, a very powerful Russian company stated that it had
involve the sharing of any potential revenues?
precise information about a big amount of gold and treasure on the
F. Q . B . It is a very delicate and complex issue from a legal point of
island through satellite images. But they never approached the park
view, and this would need to be managed very discreetly. But the
or the government in a serious way regarding how they would like to
government would be interested if there were an economic benefit.
deal with its confirmation. In the 1990s a German company made a
N . S . Benefiting the general economy of Costa Rica or just the park?
contract with the government and came to dig. This was before the
F. Q . B . The system of Costa Rica’s national parks. This would be it. The
law changed. But they didn’t respect the conditions of the contract.
proceeds would be dedicated to that, not other things.
There was a very serious environmental impact on the island.
N . S . What would be the division of the treasure between the
N . S . How did they break the rules?
government and the hunters?
F. Q . B . There was a weak presence of rangers on the island at that
F. Q . B . Costa Rican law has no fixed rule for this. But the real problem
time, so they went beyond the limits of where they could dig. They did
is what could happen with the country where the treasure originated.
more than what was proposed because they found nothing in their
It might become a case of international law—this is basically what
agreed area of focus. It ended in a bad way for both the company and
happened with lots of underwater salvage projects. There was a big
the government. After that, in 1995, after such a bad experience with
fight between nations.
a supposedly serious company, the government decided to put a stop
N . S . The law says treasure hunting is generally not allowed, but
to treasure hunting—to refuse any more permits, and to declare the
does the restriction expire?
island a natural reserve. This was last reserve established in Costa
F. Q . B . There are just a couple of lines that say no one is allowed to
Rica.
come to the island to look for treasure by any method. This is a decree
N . S . I have also heard stories that some people once used dynamite.
that could be changed.
F. Q . B . As far as I know, explosives were never used. Anyway, at the
N . S . Is this a statute of the general law of Costa Rica or is it some
moment—given our current government—I think that a serious project
part of parks law?
with very precise information relating to the possible location of a
F. Q . B . It is not a rule of the park, it is a decree of law and signed by
treasure would probably receive a permit. If a company can present
the Minister of Environment and the President.
156
157
Even more recently, despite all the technology employed in various
a serious case then there is an open space in the law to allow for it.
searches, and all the effort, nobody found anything.
N . S . How can one present a serious proposal if you haven't been
N . S . What of the other two treasures?
here first? Does it all have to be done by satellite? Don’t you have
F. Q . B . The other two famous stories relate to the treasure of Captain
to check the island out in person in order to present a proposal?
William Davis, and another pirate called Benito “Bloody Sword” Bonito.
If this is the case, do you give permission for people to come for
There has also been lots of talk but not really any physical proof
reconnaissance while preparing their proposals?
matching up to the ideas that people arrived on Coco with. Those that
F. Q . B . If it is a project that is presented in a very professional way
came to look for these treasures always became very disappointed
with serious technology then this will be possible. Lately, however, the
that they didn’t find a mark, a sign that conformed to anything on
proposals that we have received have not been very serious.
their treasure maps. There have been some serious professional
N . S . The important question at this point is why would the
treasure hunting companies with access to Coco and even they
government be interested in considering any proposals? Would it
failed. Recently, a very powerful Russian company stated that it had
involve the sharing of any potential revenues?
precise information about a big amount of gold and treasure on the
F. Q . B . It is a very delicate and complex issue from a legal point of
island through satellite images. But they never approached the park
view, and this would need to be managed very discreetly. But the
or the government in a serious way regarding how they would like to
government would be interested if there were an economic benefit.
deal with its confirmation. In the 1990s a German company made a
N . S . Benefiting the general economy of Costa Rica or just the park?
contract with the government and came to dig. This was before the
F. Q . B . The system of Costa Rica’s national parks. This would be it. The
law changed. But they didn’t respect the conditions of the contract.
proceeds would be dedicated to that, not other things.
There was a very serious environmental impact on the island.
N . S . What would be the division of the treasure between the
N . S . How did they break the rules?
government and the hunters?
F. Q . B . There was a weak presence of rangers on the island at that
F. Q . B . Costa Rican law has no fixed rule for this. But the real problem
time, so they went beyond the limits of where they could dig. They did
is what could happen with the country where the treasure originated.
more than what was proposed because they found nothing in their
It might become a case of international law—this is basically what
agreed area of focus. It ended in a bad way for both the company and
happened with lots of underwater salvage projects. There was a big
the government. After that, in 1995, after such a bad experience with
fight between nations.
a supposedly serious company, the government decided to put a stop
N . S . The law says treasure hunting is generally not allowed, but
to treasure hunting—to refuse any more permits, and to declare the
does the restriction expire?
island a natural reserve. This was last reserve established in Costa
F. Q . B . There are just a couple of lines that say no one is allowed to
Rica.
come to the island to look for treasure by any method. This is a decree
N . S . I have also heard stories that some people once used dynamite.
that could be changed.
F. Q . B . As far as I know, explosives were never used. Anyway, at the
N . S . Is this a statute of the general law of Costa Rica or is it some
moment—given our current government—I think that a serious project
part of parks law?
with very precise information relating to the possible location of a
F. Q . B . It is not a rule of the park, it is a decree of law and signed by
treasure would probably receive a permit. If a company can present
the Minister of Environment and the President.
156
157
N . S . Okay, so if the government received a very professional proposal
sailors on the stones at Chatham Bay. The rocks with the carvings have
to look for treasure they might accept it, and understanding that
not been declared part of the cultural patrimony of the country but
the reason they might accept it and change the decree is because
they are not supposed to leave the island. They are under the general
there may be an economic benefit to the park, does that not imply
law that you cannot take anything away from the island.
that the government believes there is treasure buried here? Isn’t
N . S . What are the current challenges for Coco in terms of human
this contrary to your opinion? Do any of your colleagues think
impact? I know there are rangers who live here. I also understand
differently?
there is some drug-running activity in the area, and that an antenna
F. Q . B . There are many of my colleagues who think the same as I do—
is being installed to monitor this. What else?
especially about the Treasure of Lima. The reason why they think this
F. Q . B . Any activity with humans on the island produces an impact,
is because they believe that the person who argues that the treasure
this is very clear. All the politics of the park are dedicated to keeping
never arrived is a real expert. He is a very respected person, but the
this human impact to a minimum. We are trying to keep all human
public has not really heard him.
presence on and around the island limited to small areas where the
N . S . In your fifteen years as Director, has anything happened on
impact was already felt before the park was created. There is a big
Coco relating to illegal treasure hunting?
interest in avoiding any major building projects or structures on the
F. Q . B . Just a little bit before I became Director there was a German
island.
expedition that came here illegally. They got onto the island but were
N . S . What about the narco-traffickers and the antenna?
stopped immediately. Then there were other attempts in which persons
F. Q . B . The project is the construction of an antenna on the island. It
approached the government as if they were conducting geological
will be about sixty meters tall, with a base of four by four meters.
investigations but had treasure as their real goal. They never got onto
N . S . Do the smugglers only pass by, or do they ever come to Coco?
the island.
Has it ever been used for this kind of modern piracy?
N . S . There are historical artifacts like rock carvings—and even
F. Q . B . The heavy route is between Cocos and the mainland, about
physical structures left behind by previous treasure hunting
sixty miles north east of the island. It is a very difficult thing to
expeditions. Does the park consider any of these items relating to
control, because they are using different tools—from planes to boats
treasure hunting to be part of the history and heritage of Coco that
to submarines—all the time.
fall under your protection?
N . S . So the antenna will be there just to spot them in the surrounding
F. Q . B . There are some tools from the 1920s and 1930s in Chatham
waters—to get a better view?
Bay but they are now covered by vegetation. They are on the island but
F. Q . B . It's not just a project for Coco. It's a project that encompasses
there is no protection. There is another thing from the expedition of the
the whole coast of Costa Rica. The idea is that there will be several
American President Roosevelt who came to the island with the excuse
hundred antennas.
of sport fishing, but then they found a box… . It was from a detector for
N . S . Bringing it now to our project—why did you accept it? What
mines and explosives that was obviously used as a treasure hunting
do you think about it?
tool. It is still in the main saloon of the ranger house. But it is not really
F. Q . B . I think it is very important that a group of people are interested
considered a historical item. There is an idea for a future museum,
in supporting the island. The country is very worried about the
but at the moment the only protected things are the carvings of the
sustainability of the system of national parks. I am impressed by this
158
159
N . S . Okay, so if the government received a very professional proposal
sailors on the stones at Chatham Bay. The rocks with the carvings have
to look for treasure they might accept it, and understanding that
not been declared part of the cultural patrimony of the country but
the reason they might accept it and change the decree is because
they are not supposed to leave the island. They are under the general
there may be an economic benefit to the park, does that not imply
law that you cannot take anything away from the island.
that the government believes there is treasure buried here? Isn’t
N . S . What are the current challenges for Coco in terms of human
this contrary to your opinion? Do any of your colleagues think
impact? I know there are rangers who live here. I also understand
differently?
there is some drug-running activity in the area, and that an antenna
F. Q . B . There are many of my colleagues who think the same as I do—
is being installed to monitor this. What else?
especially about the Treasure of Lima. The reason why they think this
F. Q . B . Any activity with humans on the island produces an impact,
is because they believe that the person who argues that the treasure
this is very clear. All the politics of the park are dedicated to keeping
never arrived is a real expert. He is a very respected person, but the
this human impact to a minimum. We are trying to keep all human
public has not really heard him.
presence on and around the island limited to small areas where the
N . S . In your fifteen years as Director, has anything happened on
impact was already felt before the park was created. There is a big
Coco relating to illegal treasure hunting?
interest in avoiding any major building projects or structures on the
F. Q . B . Just a little bit before I became Director there was a German
island.
expedition that came here illegally. They got onto the island but were
N . S . What about the narco-traffickers and the antenna?
stopped immediately. Then there were other attempts in which persons
F. Q . B . The project is the construction of an antenna on the island. It
approached the government as if they were conducting geological
will be about sixty meters tall, with a base of four by four meters.
investigations but had treasure as their real goal. They never got onto
N . S . Do the smugglers only pass by, or do they ever come to Coco?
the island.
Has it ever been used for this kind of modern piracy?
N . S . There are historical artifacts like rock carvings—and even
F. Q . B . The heavy route is between Cocos and the mainland, about
physical structures left behind by previous treasure hunting
sixty miles north east of the island. It is a very difficult thing to
expeditions. Does the park consider any of these items relating to
control, because they are using different tools—from planes to boats
treasure hunting to be part of the history and heritage of Coco that
to submarines—all the time.
fall under your protection?
N . S . So the antenna will be there just to spot them in the surrounding
F. Q . B . There are some tools from the 1920s and 1930s in Chatham
waters—to get a better view?
Bay but they are now covered by vegetation. They are on the island but
F. Q . B . It's not just a project for Coco. It's a project that encompasses
there is no protection. There is another thing from the expedition of the
the whole coast of Costa Rica. The idea is that there will be several
American President Roosevelt who came to the island with the excuse
hundred antennas.
of sport fishing, but then they found a box… . It was from a detector for
N . S . Bringing it now to our project—why did you accept it? What
mines and explosives that was obviously used as a treasure hunting
do you think about it?
tool. It is still in the main saloon of the ranger house. But it is not really
F. Q . B . I think it is very important that a group of people are interested
considered a historical item. There is an idea for a future museum,
in supporting the island. The country is very worried about the
but at the moment the only protected things are the carvings of the
sustainability of the system of national parks. I am impressed by this
158
159
new approach—this donation for the system in a creative and original way. I am positive about it. In recent years the government has cut a lot of funding, and they have advised us to look for new ways to get funds from other countries to help with environmental administration. I see that there will be absolutely no significant environmental impact by your project, and I think its creativity can push other people to develop a new system of fundraising for environmental needs. The other directors share my opinion.
ANDREW RANVILLE N A D I M S A M M A N Let’s talk about how we recorded the location of the exhibition. What did you do? A N D R E W R A N V I L L E I worked with Captain Brady and we gathered three GPS recorders from the ship, along with my own GPS. We tested them all while onboard the Dardanella, and we were averaging seven or eight satellites. One of our GPS was not really functioning so we rejected it. We set all the remaining ones to the same map datum and the same map spheroid.
N . S . What is the spheroid? A . R . Basically, the map spheroid is how the grid lines of mapping infrastructure are projected onto the world. The map datum is the actual grid, and the spheroid is the shape of the globe that you’re using. So you are projecting the former onto the latter. If you think about it, our earth is a kind of mutable form—in relation to the moon’s pull the sea is actually bulging. It is not a perfect sphere. It is a spheroid, because it is a little bit elliptical in shape. 160
161
new approach—this donation for the system in a creative and original way. I am positive about it. In recent years the government has cut a lot of funding, and they have advised us to look for new ways to get funds from other countries to help with environmental administration. I see that there will be absolutely no significant environmental impact by your project, and I think its creativity can push other people to develop a new system of fundraising for environmental needs. The other directors share my opinion.
ANDREW RANVILLE N A D I M S A M M A N Let’s talk about how we recorded the location of the exhibition. What did you do? A N D R E W R A N V I L L E I worked with Captain Brady and we gathered three GPS recorders from the ship, along with my own GPS. We tested them all while onboard the Dardanella, and we were averaging seven or eight satellites. One of our GPS was not really functioning so we rejected it. We set all the remaining ones to the same map datum and the same map spheroid.
N . S . What is the spheroid? A . R . Basically, the map spheroid is how the grid lines of mapping infrastructure are projected onto the world. The map datum is the actual grid, and the spheroid is the shape of the globe that you’re using. So you are projecting the former onto the latter. If you think about it, our earth is a kind of mutable form—in relation to the moon’s pull the sea is actually bulging. It is not a perfect sphere. It is a spheroid, because it is a little bit elliptical in shape. 160
161
N . S . How did you pick the spheroid?
A . R . If you took a GPS with that exact coordinate you would get within
A . R . The most accurate projection of the shape of the earth and the
a hundred feet of the actual location of the buried exhibition.
data points that are applied to it is called WGS 84—the 84 represents
N . S . So there is a margin there.
when it was developed, in 1984. There are older ones that are specific
A . R . Even you are able to extract the GPS point from the encryption,
to certain countries. If you look in the settings of a lot of mapping
when you actually plot it on a satellite map of Coco it might show up as
software almost every country has its own data, because they like to
being in the ocean. It might show up on the coast, it might show up on a
project things slightly differently. Often the projection is centered on
rock. There is a degree of inaccuracy that results from the limitations of
their boundaries, but this throws the coordinates off for mapping that
the GPS technology available for civilian use, and Google Earth. The latter
you might like to do in other places. I was tempted to use the Costa
is just free software. Military GPS is being recalibrated everyday, from
Rican national grid but that was probably not going to be any more
within a bunker somewhere in Colorado: They calibrate all the time, on
accurate than even North American datum 73. I picked WGS because it
the hour. When it comes to Google Earth, which model of the globe are
is the world global system.
they using to project the satellite images onto? Actually, their satellite
N . S . What next?
data is projected on multiple spheroids applied across the whole globe.
A . R . Then we took those three GPS on the burial expedition. On site
They project it as close as possible but the end product is just a kind of
only two of our devices were connecting properly to satellites. It was a
average of these spheroids. In a sense, traditional treasure maps might
very challenging location—which made it harder to connect to satellites.
be a better thing, as they might include landmarks like promontories,
So while we were on site we were only connecting to maybe three
rocks and other more or less permanent fixtures. But, ultimately, I
or four on the two working GPS. The third didn’t connect to anything.
think X never truly marks the spot. If you think about it, there is not
That redundancy, having two fairly accurate GPS connected to three
only the idea of the GPS projection having some fallibility but there is
or four satellites—and not necessarily the same ones—was good. One
also the mutability of the actual landscape. Coco moves. It moves two
of the devices that we used was the Garmin Etrex, which is good but
centimeters a year. It is just one visible tip of a tectonic plate that is
not quite as accurate as mine as it doesn’t have as much triangulation
shifting. The earth is not a solid thing. It is floating on a molten soup. So
power between the satellites. Mine was the Organ 300, which was
the fact is, the longer the buyer takes to decrypt the code the more the
hitting within an accuracy of eighty-six feet. It was fluctuating, and the
treasure moves.
Etrex was fluctuating between 106 and 120 feet. In the end we recorded
N . S . A lot of the old treasure maps relating to Coco go by landmarks—
a point with both of those, seconds apart, and then loaded the data
and then of course the trees get blown off the side of the mountain
into some very simple Garmin software called Basecamp, which we
in a hurricane, rocks tumble down valleys, landslides occur. So are
then used to discern the Universal Transmercator coordinates. It is
you saying that we should have created a map that was a set of
important that we used the UTM grid system, which is popular for any
landmarks?
sort of land based coordinate recordings. From there we translated the
A . R . It is quite beautiful that nothing can be right on. You are never
UTM coordinates to latitude and longitude—our degrees in minutes and
going to have a pinpoint of an X—that rarely occurs. From treasure maps
then hundreds and thousands of minutes.
in early history right through to contemporary GPS, there is always a
N . S . So you took an average calculation between two GPS points.
level of expectation for the human to use their own brain. You can only
Now we have this average, how accurate is it?
get so close—with civilian GPS the most accurate you can get is about
162
163
N . S . How did you pick the spheroid?
A . R . If you took a GPS with that exact coordinate you would get within
A . R . The most accurate projection of the shape of the earth and the
a hundred feet of the actual location of the buried exhibition.
data points that are applied to it is called WGS 84—the 84 represents
N . S . So there is a margin there.
when it was developed, in 1984. There are older ones that are specific
A . R . Even you are able to extract the GPS point from the encryption,
to certain countries. If you look in the settings of a lot of mapping
when you actually plot it on a satellite map of Coco it might show up as
software almost every country has its own data, because they like to
being in the ocean. It might show up on the coast, it might show up on a
project things slightly differently. Often the projection is centered on
rock. There is a degree of inaccuracy that results from the limitations of
their boundaries, but this throws the coordinates off for mapping that
the GPS technology available for civilian use, and Google Earth. The latter
you might like to do in other places. I was tempted to use the Costa
is just free software. Military GPS is being recalibrated everyday, from
Rican national grid but that was probably not going to be any more
within a bunker somewhere in Colorado: They calibrate all the time, on
accurate than even North American datum 73. I picked WGS because it
the hour. When it comes to Google Earth, which model of the globe are
is the world global system.
they using to project the satellite images onto? Actually, their satellite
N . S . What next?
data is projected on multiple spheroids applied across the whole globe.
A . R . Then we took those three GPS on the burial expedition. On site
They project it as close as possible but the end product is just a kind of
only two of our devices were connecting properly to satellites. It was a
average of these spheroids. In a sense, traditional treasure maps might
very challenging location—which made it harder to connect to satellites.
be a better thing, as they might include landmarks like promontories,
So while we were on site we were only connecting to maybe three
rocks and other more or less permanent fixtures. But, ultimately, I
or four on the two working GPS. The third didn’t connect to anything.
think X never truly marks the spot. If you think about it, there is not
That redundancy, having two fairly accurate GPS connected to three
only the idea of the GPS projection having some fallibility but there is
or four satellites—and not necessarily the same ones—was good. One
also the mutability of the actual landscape. Coco moves. It moves two
of the devices that we used was the Garmin Etrex, which is good but
centimeters a year. It is just one visible tip of a tectonic plate that is
not quite as accurate as mine as it doesn’t have as much triangulation
shifting. The earth is not a solid thing. It is floating on a molten soup. So
power between the satellites. Mine was the Organ 300, which was
the fact is, the longer the buyer takes to decrypt the code the more the
hitting within an accuracy of eighty-six feet. It was fluctuating, and the
treasure moves.
Etrex was fluctuating between 106 and 120 feet. In the end we recorded
N . S . A lot of the old treasure maps relating to Coco go by landmarks—
a point with both of those, seconds apart, and then loaded the data
and then of course the trees get blown off the side of the mountain
into some very simple Garmin software called Basecamp, which we
in a hurricane, rocks tumble down valleys, landslides occur. So are
then used to discern the Universal Transmercator coordinates. It is
you saying that we should have created a map that was a set of
important that we used the UTM grid system, which is popular for any
landmarks?
sort of land based coordinate recordings. From there we translated the
A . R . It is quite beautiful that nothing can be right on. You are never
UTM coordinates to latitude and longitude—our degrees in minutes and
going to have a pinpoint of an X—that rarely occurs. From treasure maps
then hundreds and thousands of minutes.
in early history right through to contemporary GPS, there is always a
N . S . So you took an average calculation between two GPS points.
level of expectation for the human to use their own brain. You can only
Now we have this average, how accurate is it?
get so close—with civilian GPS the most accurate you can get is about
162
163
eight feet. With military spec tools, in collaboration with radar and laser
point is they will quickly realize that they are off, by maybe hundreds of
imaging, you can get accurate down to a few inches.
feet. There will be a discrepancy with the aerial imagery. Aerial imagery
N . S . The range by which our coordinate may be off—would you say
is only going to get you so far, especially when there is only an average
that’s pretty much as good as it gets for civilian equipment?
of the satellite which is projected as close as possible but not close
A . R . I would say that it’s acceptable. I would have loved for it to be
enough. When you are on the island it will be very obvious that the
within sixty feet but I think that it was fine, given the circumstances,
Google Earth projection is just a gross approximation.
the remoteness and the satellite coverage at the time—there were so
N . S . Isn’t it incredible to think about this in relation to all the people
many variables, including weather.
who came here looking for treasure on the basis of traditional
N . S . Now we have this average point: It doesn’t necessarily fall on
maps in the nineteenth century—like August Gissler, who lived here
the spot where the object is. It gives you the center point of a radius.
for eighteen years, searching, based on what he thought was an
If you plot that point into—for example—Google Earth what is likely
accurate chart? You would think that today, in an age of satellite
to happen?
positioning systems and handheld devices, that we could really
A . R . First you have the variables of Google Earth’s map datum. I did my
place an X on the spot.
research before I got here to try to find the most accurate map of Coco
A . R . You would think so, but there is something really romantic in the
that could be loaded onto my Garmin GPS. I found a topographic map,
idea that X is not necessarily the spot. It is a reference for the visitor
and it was quite difficult to come by. Anyway, the shape of the island
to use their own intuition on the ground, in the environment, to ask,
was so average, so rounded and imprecise on it. There has not been any
“Where would this actual exhibition be?” I think this project exhibits the
really accurate map data produced about the island. Google Earth will
inconsistency of what we see as advanced technologies. Even if we did
just take satellite imagery and project it onto whatever spheroid they
get it perfect with military grade equipment the earth still is changing.
are using. Using it you will probably be a few meters, maybe even ten
Coco is one little island on a huge tectonic plate that is shifting—a few
or twenty, into the sea—or you might be on a rock face or a cliff edge.
centimeters every year. Depending on how long it takes for someone
There is a lot of discrepancy.
to de-encrypt the code, they might have to establish a formula that
N . S . So the person who potentially recovers the data and manages
corrects for every year of the island’s movement. There is a beauty in
to de-encrypt the GPS coordinates will put them into civilian
imprecision, and there is another layer of challenge for anyone who has
software like Google Earth, and then they will come up with a point
the gumption to try to visit or exhume this exhibition.
that is close but not the exact spot. Have we given them a map at
N . S . To access the exhibition experience.
all?
A . R . Well, they’re accessing it in a different way just by partaking in
A . R . I think we have given them a starting point. We have not given
the narrative. They know that maybe they do not get to see what is in
them the location. They will have to use their own intuition.
the actual exhibition architecture—but they are complicit, and enjoy
N . S . More precisely—the coordinates that they recover, when put
the fact that they are a part of that narrative.
into Google Earth, may drop a pin on a spot that may not actually
N . S . What do you think about what we are going to do with the
even be on the island. What happens when they get there in person?
coordinates? We have already spoken about a whole field of
A . R . They should realize that the projection loaded into Google Earth is
variables and imprecision—even before the challenge posed by
incorrect. If they start to use satellite imagery to say this is where the
Constant Dullaart’s encryption.
164
165
eight feet. With military spec tools, in collaboration with radar and laser
point is they will quickly realize that they are off, by maybe hundreds of
imaging, you can get accurate down to a few inches.
feet. There will be a discrepancy with the aerial imagery. Aerial imagery
N . S . The range by which our coordinate may be off—would you say
is only going to get you so far, especially when there is only an average
that’s pretty much as good as it gets for civilian equipment?
of the satellite which is projected as close as possible but not close
A . R . I would say that it’s acceptable. I would have loved for it to be
enough. When you are on the island it will be very obvious that the
within sixty feet but I think that it was fine, given the circumstances,
Google Earth projection is just a gross approximation.
the remoteness and the satellite coverage at the time—there were so
N . S . Isn’t it incredible to think about this in relation to all the people
many variables, including weather.
who came here looking for treasure on the basis of traditional
N . S . Now we have this average point: It doesn’t necessarily fall on
maps in the nineteenth century—like August Gissler, who lived here
the spot where the object is. It gives you the center point of a radius.
for eighteen years, searching, based on what he thought was an
If you plot that point into—for example—Google Earth what is likely
accurate chart? You would think that today, in an age of satellite
to happen?
positioning systems and handheld devices, that we could really
A . R . First you have the variables of Google Earth’s map datum. I did my
place an X on the spot.
research before I got here to try to find the most accurate map of Coco
A . R . You would think so, but there is something really romantic in the
that could be loaded onto my Garmin GPS. I found a topographic map,
idea that X is not necessarily the spot. It is a reference for the visitor
and it was quite difficult to come by. Anyway, the shape of the island
to use their own intuition on the ground, in the environment, to ask,
was so average, so rounded and imprecise on it. There has not been any
“Where would this actual exhibition be?” I think this project exhibits the
really accurate map data produced about the island. Google Earth will
inconsistency of what we see as advanced technologies. Even if we did
just take satellite imagery and project it onto whatever spheroid they
get it perfect with military grade equipment the earth still is changing.
are using. Using it you will probably be a few meters, maybe even ten
Coco is one little island on a huge tectonic plate that is shifting—a few
or twenty, into the sea—or you might be on a rock face or a cliff edge.
centimeters every year. Depending on how long it takes for someone
There is a lot of discrepancy.
to de-encrypt the code, they might have to establish a formula that
N . S . So the person who potentially recovers the data and manages
corrects for every year of the island’s movement. There is a beauty in
to de-encrypt the GPS coordinates will put them into civilian
imprecision, and there is another layer of challenge for anyone who has
software like Google Earth, and then they will come up with a point
the gumption to try to visit or exhume this exhibition.
that is close but not the exact spot. Have we given them a map at
N . S . To access the exhibition experience.
all?
A . R . Well, they’re accessing it in a different way just by partaking in
A . R . I think we have given them a starting point. We have not given
the narrative. They know that maybe they do not get to see what is in
them the location. They will have to use their own intuition.
the actual exhibition architecture—but they are complicit, and enjoy
N . S . More precisely—the coordinates that they recover, when put
the fact that they are a part of that narrative.
into Google Earth, may drop a pin on a spot that may not actually
N . S . What do you think about what we are going to do with the
even be on the island. What happens when they get there in person?
coordinates? We have already spoken about a whole field of
A . R . They should realize that the projection loaded into Google Earth is
variables and imprecision—even before the challenge posed by
incorrect. If they start to use satellite imagery to say this is where the
Constant Dullaart’s encryption.
164
165
A . R . There are so many different layers and variables. Encoding that
expect. All of a sudden we were here, and only after a couple of days we
data is just compounding that. A lot of things could be answered if you
were off to bury the treasure. But the plan came together. There were
just had the GPS coordinates and photo references. Things would totally
so many moving parts, my attitude was always to do what I could to
change if there was imagery included with the coordinates. It would
facilitate it happening.
vastly increase the potential of someone finding the exact location. We
N . S . Is this an exhibition? Is it just a fundraising project? Is it a folly?
shot tons of footage. I would be more concerned about people having a
A . R . I think it is a story, but I think a story can be an exhibition. I think
set of four photographs than having this GPS right now. If you had four
the work in the ground is a cache of cultural items that are of varying
shots from varying focal lengths that would be far more damning as a
degrees of relevance to the project itself, and to contemporary art. I
map than a simple GPS coordinate.
would call it a time capsule, but that implies that it is supposed to be
N . S . We have talked about the physical location, but do you think
recovered and that it has a story to tell about the time period in which
there is any other kind of mapping going on in this project?
it was buried. I think that a lot of pieces in the chest are more timeless.
A . R . There is hopefully some sort of mapping that is being proposed
It’s an exhibition, a story, a cosmic joke—almost. It is good that it is a lot
for artists and researchers, to more carefully find their way through
of things. It is better that you can’t put one tag on it.
material explorations in a creative way. In my own work, if I make
N . S . What is being exhibited then, if we are not showing the works
something that is a map it can actually be a useful artifact that describes
in the chest?
a landscape on a scientific or cartographic level. But at the same time
A . R . There is an element of the art of it that can only be experienced by
the artistic gesture involves highlighting a certain understanding and
the players involved. There is a different experience—but maybe more
engagement with the landscape. Thinking about the material process of
profound one—that people who engage with the story will get, because
mapping a place ties into ecology and conservation. This kind of thing
we will be able to present this idea in a curated fashion. All of the stories
is another X that the people involved in our project are trying to find
that happen around this, and the other works and ephemera that get
their way towards—a roadmap to a successful intermingling of art and
made around it, will bolster the narrative. It is the narrative: Let’s be
conservation. One of the most altruistic goals of art is to make the
blunt—we buried a treasure on Treasure Island with no intention of
world a better place, not just through cultural influence but through
getting it back!
actual on the ground interactions with the landscape. Artists should
N . S . And we are really hoping that someone is going to buy the
not be ignorant of the fact that in painting something red some of their
coordinates… ?
materials might have destroyed a certain beetle, or that in order to
A . R . And someone probably will! And they will be supporting a great
paint something green a certain plant has been killed. We were thinking
idea: There is a bunch of great work in a box, buried on treasure island
about these things when we buried the steel chest on Coco. I think our
and no one is going to get to see it. Too many people are trying to
action was a really poignant way of putting this issue to the fore. The
praise the work of leading contemporary artists by sticking it in gross
project engages with the history of the landscape, and the reason why
buildings that have been overdesigned. Why don’t we just bury it in
it is protected.
a natural landscape where no one is ever going to see it? The story,
N . S . Do you have any other reflections on what it was like to take
combined with the desire to know, is powerful.
part in this project? What did you expect?
N . S . I did take pleasure in throwing mud on that sculpted object.
A . R . It all came together so quickly that I didn’t really know what to
A . R . Yes, it was becoming part of the landscape then.
166
167
A . R . There are so many different layers and variables. Encoding that
expect. All of a sudden we were here, and only after a couple of days we
data is just compounding that. A lot of things could be answered if you
were off to bury the treasure. But the plan came together. There were
just had the GPS coordinates and photo references. Things would totally
so many moving parts, my attitude was always to do what I could to
change if there was imagery included with the coordinates. It would
facilitate it happening.
vastly increase the potential of someone finding the exact location. We
N . S . Is this an exhibition? Is it just a fundraising project? Is it a folly?
shot tons of footage. I would be more concerned about people having a
A . R . I think it is a story, but I think a story can be an exhibition. I think
set of four photographs than having this GPS right now. If you had four
the work in the ground is a cache of cultural items that are of varying
shots from varying focal lengths that would be far more damning as a
degrees of relevance to the project itself, and to contemporary art. I
map than a simple GPS coordinate.
would call it a time capsule, but that implies that it is supposed to be
N . S . We have talked about the physical location, but do you think
recovered and that it has a story to tell about the time period in which
there is any other kind of mapping going on in this project?
it was buried. I think that a lot of pieces in the chest are more timeless.
A . R . There is hopefully some sort of mapping that is being proposed
It’s an exhibition, a story, a cosmic joke—almost. It is good that it is a lot
for artists and researchers, to more carefully find their way through
of things. It is better that you can’t put one tag on it.
material explorations in a creative way. In my own work, if I make
N . S . What is being exhibited then, if we are not showing the works
something that is a map it can actually be a useful artifact that describes
in the chest?
a landscape on a scientific or cartographic level. But at the same time
A . R . There is an element of the art of it that can only be experienced by
the artistic gesture involves highlighting a certain understanding and
the players involved. There is a different experience—but maybe more
engagement with the landscape. Thinking about the material process of
profound one—that people who engage with the story will get, because
mapping a place ties into ecology and conservation. This kind of thing
we will be able to present this idea in a curated fashion. All of the stories
is another X that the people involved in our project are trying to find
that happen around this, and the other works and ephemera that get
their way towards—a roadmap to a successful intermingling of art and
made around it, will bolster the narrative. It is the narrative: Let’s be
conservation. One of the most altruistic goals of art is to make the
blunt—we buried a treasure on Treasure Island with no intention of
world a better place, not just through cultural influence but through
getting it back!
actual on the ground interactions with the landscape. Artists should
N . S . And we are really hoping that someone is going to buy the
not be ignorant of the fact that in painting something red some of their
coordinates… ?
materials might have destroyed a certain beetle, or that in order to
A . R . And someone probably will! And they will be supporting a great
paint something green a certain plant has been killed. We were thinking
idea: There is a bunch of great work in a box, buried on treasure island
about these things when we buried the steel chest on Coco. I think our
and no one is going to get to see it. Too many people are trying to
action was a really poignant way of putting this issue to the fore. The
praise the work of leading contemporary artists by sticking it in gross
project engages with the history of the landscape, and the reason why
buildings that have been overdesigned. Why don’t we just bury it in
it is protected.
a natural landscape where no one is ever going to see it? The story,
N . S . Do you have any other reflections on what it was like to take
combined with the desire to know, is powerful.
part in this project? What did you expect?
N . S . I did take pleasure in throwing mud on that sculpted object.
A . R . It all came together so quickly that I didn’t really know what to
A . R . Yes, it was becoming part of the landscape then.
166
167
169 APPENDIX
168
169 APPENDIX
168
BIOGRAPHIES Marina Abramovic´ is a New York-based,
and The Renaissance Society, Chicago (1999).
Serbian-born
Angela Bulloch was born in Ontario, Canada,
of globalization and notions of time-space
in 1965, to British parents. She graduated in
compression. He has exhibited at the Lyon
Fine Art from Goldsmiths College, London, in
Biennial and is currently preparing a major
1988 and currently lives and works in Berlin.
solo-exhibition for the Musée Cantonal des
born
Important group exhibition representation
In 1997 Bulloch was short-listed for the
Beaux Arts, Lausanne, after winning the
in 1946. Active for over four decades, her
includes the Tate Triennial, Tate Britain
Turner Prize. Recent solo exhibitions include:
Manor Vaud Art Prize 2014.
work explores the relationship between
(2009); Moscow Biennale (2007); Turner Prize,
“Short Big Drama”, Witte De With, Rotterdam
performer and audience, the limits of the
Tate Britain (2005); “Busan Biennale” (2004);
(2012); “Time & Line”, Städtische Galerie,
body, and the possibilities of the mind.
Venice Biennale (2003); Berlin Biennale
Wolfsburg (2011); “Information, Manifesto,
He studied at the University of Manchester
Abramovic´ was awarded the Golden Lion for
(2001), “Sensation” (1997–1999).
Rules And Other Leaks...”, Berlinische Galerie,
and the University of Ulster. Since the
Berlin (2011). Group exhibitions include: “1984
1990s his practice has addressed image-
performance
artist
Best Artist at the 1997 Venice Biennale. In
Phil Collins was born in 1970 in England.
2008, she was decorated with the Austrian
Aranda\Lasch is a New York and Tucson-
– 1999 The Decade”, Centre Pompidou-Metz;
making, examining how we participate
Commander Cross for her contribution to
based
“Datascape”; 8 Berlin Biennale; “The Whole
in and understand culture through the
art history. In 2010, Abramovic´ had her first
experimental
Earth”, Haus der Kulturen der Welt, Berlin;
camera’s lens. His works are represented
major U.S. retrospective and simultaneously
building. Established in 2003 by Benjamin
performed for over 700 hours in The Artist
Aranda and Chris Lasch, the studio designs
Istanbul
is Present at the Museum of Modern Art in
buildings, installations and objects through
culturel Louis Vuitton, Paris (2012).
Manhattan.
deep
design
studio
research
investigation
of
dedicated and
to
innovative
materials
“datascapes”,
Borusan
(2013);
Contemporary,
“Turbulences”,
L’espace
in collections including the Solomon R. Guggenheim London;
Museum,
National
New
Gallery
York; of
Tate,
Canada;
Museum of Fine Arts, Boston; Museum of
and
structure. Winners of the United States
Los Carpinteros work between Havana
Modern Art, New York; Moderna Museet,
Doug Aitken was born in 1968 and is based
Artists Award and Young Architects Award
and Madrid. Formed in 1991, the trio (Marco
Stockholm; MoCA, Chicago; and the Walker Art Center, Minneapolis. He currently lives in
between Los Angeles and New York. Aitken
in 2007, in 2008 they were commissioned
Castillo, Dagoberto Rodríguez, and, until his
utilizes media ranging from photography,
by the Museum of Modern Art in New York
departure in June 2003, Alexandre Arrechea)
Berlin and Cologne, where he is Professor
sculpture, and architectural interventions, to
to produce a large-scale installation. They
adopted their name in 1994, renouncing
of Video Art at the Academy of Media Arts.
films, sound, single and multi-channel video
collaborated
the notion of individual authorship while
works, and installations. His work has featured
The Morning Line, commissioned by TBA-
referring to an older tradition of artisan
Constant Dullaart is a Dutch artist born in
in museums including Whitney Museum of
21, and featured in 2008 and 2010 Venice
guilds. Exploring the intersection between
1979 and based in Berlin. He works primarily
American Art; The Museum of Modern Art;
Architecture Biennials. Aranda\Lasch also
art and society, they merge architecture,
with the Internet as an alternative space
the Vienna Secession; the Serpentine Gallery
develops experimental furniture products
design, and sculpture in unexpected and
of presentation and (mis)representation.
in London and the Centre Georges Pompidou
that explore new concepts in fabrication
often humorous ways. Their works are part
His often political approach is critical of
in Paris. He was recipient of the International
and assembly.
of collections including Los Angeles County
the control that corporate systems have
with
Matthew
Ritchie
on
Museum of Art; Museum of Modern Art,
upon our perception of the world, and the
Nam June Paik Art Center Prize; and the 2013
Julius von Bismarck spent his youth in
New York; Guggenheim, New York; Reina
way in which we passively adopt their
Smithsonian Magazine American Ingenuity
Saudi Arabia and Germany. He lived in
Sofia,
Award: Visual Arts.
New York before studying at the Fine Arts
Contemporary, Vienna; and Centro Cultural
University of Berlin (UDK) and the Institut
de Arte Contemporáneo, Mexico.
Darren Almond was born in 1971 in the UK.
für Raumexperimente with Olafur Eliasson.
Prize at the Venice Biennale, 1999; the 2012
Madrid;
Thyssen- B ornemisza
Art
languages.
Dullaart’s
practice
includes
websites, performances, installations and manipulated found images, presented both offline and in the public space of the Internet. Dullaart explores the Internet’s opacity and
His work, incorporating film, installation,
Drawing on techniques from the fields of
Julian Charrière was born in 1987 in
sculpture and photography, incorporates
visual arts, film, social and physical sciences,
Morges, Switzerland. He currently lives and
highlights the extent to which onscreen
meditations on time as well as the themes
his
work
works in Berlin, where he studied at the
data is controlled, enhanced, distorted, and
of personal and historical memory. Solo
explores
representation
Institut für Raumexperimente in 2013 under
often presented as unmediated content.
exhibitions include FRAC Haute-Normandie,
and reconstruction of reality. His previous
Olafur Eliasson. Charrière’s work oscillates
Rouen
artistic the
and
cinematographic
perception,
objects, installations and devices have
between
examined these themes through reference
ecological,
mystical
hagen, Denmark of Icelandic parentage.
SITE Santa Fe (2007); Museum Folkwang,
to
spaces,
themes. In 2013 Charrière won the Swiss
He attended the Royal Academy of Arts
Essen
(2005);
authorship and ownership. Von Bismarck
Art Award / Kiefer Hablitzel Prize for his
in Copenhagen from 1989 to 1995. He
Britain,
received the Ars Electronica, 2008 Golden
project We Are All Astronauts Aboard A Little
has participated in numerous exhibitions
Nica, for his work Image Fulgurator.
Spaceship Called Earth, exploring themes
worldwide and his work is represented in
and
FRAC
(2006);
Kunsthalle
K21,
Zürich
Auvergne,
Düsseldorf (2001);
Tate
London (2001); De Appel, Amsterdam (2001)
170
the
construction
of
urban
science
and
art,
environmental
scrutinizing
Olafur Eliasson was born in 1967 in Copen
Clermont
Ferrand (2011); Parasol Unit, London (2008);
and
171
BIOGRAPHIES Marina Abramovic´ is a New York-based,
and The Renaissance Society, Chicago (1999).
Serbian-born
Angela Bulloch was born in Ontario, Canada,
of globalization and notions of time-space
in 1965, to British parents. She graduated in
compression. He has exhibited at the Lyon
Fine Art from Goldsmiths College, London, in
Biennial and is currently preparing a major
1988 and currently lives and works in Berlin.
solo-exhibition for the Musée Cantonal des
born
Important group exhibition representation
In 1997 Bulloch was short-listed for the
Beaux Arts, Lausanne, after winning the
in 1946. Active for over four decades, her
includes the Tate Triennial, Tate Britain
Turner Prize. Recent solo exhibitions include:
Manor Vaud Art Prize 2014.
work explores the relationship between
(2009); Moscow Biennale (2007); Turner Prize,
“Short Big Drama”, Witte De With, Rotterdam
performer and audience, the limits of the
Tate Britain (2005); “Busan Biennale” (2004);
(2012); “Time & Line”, Städtische Galerie,
body, and the possibilities of the mind.
Venice Biennale (2003); Berlin Biennale
Wolfsburg (2011); “Information, Manifesto,
He studied at the University of Manchester
Abramovic´ was awarded the Golden Lion for
(2001), “Sensation” (1997–1999).
Rules And Other Leaks...”, Berlinische Galerie,
and the University of Ulster. Since the
Berlin (2011). Group exhibitions include: “1984
1990s his practice has addressed image-
performance
artist
Best Artist at the 1997 Venice Biennale. In
Phil Collins was born in 1970 in England.
2008, she was decorated with the Austrian
Aranda\Lasch is a New York and Tucson-
– 1999 The Decade”, Centre Pompidou-Metz;
making, examining how we participate
Commander Cross for her contribution to
based
“Datascape”; 8 Berlin Biennale; “The Whole
in and understand culture through the
art history. In 2010, Abramovic´ had her first
experimental
Earth”, Haus der Kulturen der Welt, Berlin;
camera’s lens. His works are represented
major U.S. retrospective and simultaneously
building. Established in 2003 by Benjamin
performed for over 700 hours in The Artist
Aranda and Chris Lasch, the studio designs
Istanbul
is Present at the Museum of Modern Art in
buildings, installations and objects through
culturel Louis Vuitton, Paris (2012).
Manhattan.
deep
design
studio
research
investigation
of
dedicated and
to
innovative
materials
“datascapes”,
Borusan
(2013);
Contemporary,
“Turbulences”,
L’espace
in collections including the Solomon R. Guggenheim London;
Museum,
National
New
Gallery
York; of
Tate,
Canada;
Museum of Fine Arts, Boston; Museum of
and
structure. Winners of the United States
Los Carpinteros work between Havana
Modern Art, New York; Moderna Museet,
Doug Aitken was born in 1968 and is based
Artists Award and Young Architects Award
and Madrid. Formed in 1991, the trio (Marco
Stockholm; MoCA, Chicago; and the Walker Art Center, Minneapolis. He currently lives in
between Los Angeles and New York. Aitken
in 2007, in 2008 they were commissioned
Castillo, Dagoberto Rodríguez, and, until his
utilizes media ranging from photography,
by the Museum of Modern Art in New York
departure in June 2003, Alexandre Arrechea)
Berlin and Cologne, where he is Professor
sculpture, and architectural interventions, to
to produce a large-scale installation. They
adopted their name in 1994, renouncing
of Video Art at the Academy of Media Arts.
films, sound, single and multi-channel video
collaborated
the notion of individual authorship while
works, and installations. His work has featured
The Morning Line, commissioned by TBA-
referring to an older tradition of artisan
Constant Dullaart is a Dutch artist born in
in museums including Whitney Museum of
21, and featured in 2008 and 2010 Venice
guilds. Exploring the intersection between
1979 and based in Berlin. He works primarily
American Art; The Museum of Modern Art;
Architecture Biennials. Aranda\Lasch also
art and society, they merge architecture,
with the Internet as an alternative space
the Vienna Secession; the Serpentine Gallery
develops experimental furniture products
design, and sculpture in unexpected and
of presentation and (mis)representation.
in London and the Centre Georges Pompidou
that explore new concepts in fabrication
often humorous ways. Their works are part
His often political approach is critical of
in Paris. He was recipient of the International
and assembly.
of collections including Los Angeles County
the control that corporate systems have
with
Matthew
Ritchie
on
Museum of Art; Museum of Modern Art,
upon our perception of the world, and the
Nam June Paik Art Center Prize; and the 2013
Julius von Bismarck spent his youth in
New York; Guggenheim, New York; Reina
way in which we passively adopt their
Smithsonian Magazine American Ingenuity
Saudi Arabia and Germany. He lived in
Sofia,
Award: Visual Arts.
New York before studying at the Fine Arts
Contemporary, Vienna; and Centro Cultural
University of Berlin (UDK) and the Institut
de Arte Contemporáneo, Mexico.
Darren Almond was born in 1971 in the UK.
für Raumexperimente with Olafur Eliasson.
Prize at the Venice Biennale, 1999; the 2012
Madrid;
Thyssen- B ornemisza
Art
languages.
Dullaart’s
practice
includes
websites, performances, installations and manipulated found images, presented both offline and in the public space of the Internet. Dullaart explores the Internet’s opacity and
His work, incorporating film, installation,
Drawing on techniques from the fields of
Julian Charrière was born in 1987 in
sculpture and photography, incorporates
visual arts, film, social and physical sciences,
Morges, Switzerland. He currently lives and
highlights the extent to which onscreen
meditations on time as well as the themes
his
work
works in Berlin, where he studied at the
data is controlled, enhanced, distorted, and
of personal and historical memory. Solo
explores
representation
Institut für Raumexperimente in 2013 under
often presented as unmediated content.
exhibitions include FRAC Haute-Normandie,
and reconstruction of reality. His previous
Olafur Eliasson. Charrière’s work oscillates
Rouen
artistic the
and
cinematographic
perception,
objects, installations and devices have
between
examined these themes through reference
ecological,
mystical
hagen, Denmark of Icelandic parentage.
SITE Santa Fe (2007); Museum Folkwang,
to
spaces,
themes. In 2013 Charrière won the Swiss
He attended the Royal Academy of Arts
Essen
(2005);
authorship and ownership. Von Bismarck
Art Award / Kiefer Hablitzel Prize for his
in Copenhagen from 1989 to 1995. He
Britain,
received the Ars Electronica, 2008 Golden
project We Are All Astronauts Aboard A Little
has participated in numerous exhibitions
Nica, for his work Image Fulgurator.
Spaceship Called Earth, exploring themes
worldwide and his work is represented in
and
FRAC
(2006);
Kunsthalle
K21,
Zürich
Auvergne,
Düsseldorf (2001);
Tate
London (2001); De Appel, Amsterdam (2001)
170
the
construction
of
urban
science
and
art,
environmental
scrutinizing
Olafur Eliasson was born in 1967 in Copen
Clermont
Ferrand (2011); Parasol Unit, London (2008);
and
171
Antti Laitinen was born in northern Finland
public and private collections including the
John Gerrard was born in Dublin in 1974
Carl Michael von Hausswolff was born
Solomon R. Guggenheim Museum, New York,
and studied at the Ruskin School of Drawing
in 1956. He is a composer, visual artist and
in 1975. He completed his MA at The Finnish
Museum of Contemporary Art, Los Angeles,
& Fine Art, School of the Art Institute of
curator based in Stockholm, Sweden. His
Art Academy of Fine Arts in 2004 after years of photographic studies in Turku, Finland.
the Deste Foundation, Athens and Tate. He
Chicago and Trinity College, Dublin. His
main tools are recording devices (camera,
has had major solo exhibitions at Kunsthaus
works are concerned with contemporary
tape deck, radar, sonar) used in an ongoing
Laitinen’s work stems from performances
Bregenz; Musée d’Art Moderne de la Ville de
power in the broadest sense, epitomizing
investigation
of
that are documented through photographs,
Paris; and ZKM (Center for Art and Media),
the networks of energy that characterized
architectural
space
paranormal
videos or objects. Using explicit and oblique
Karlsruhe. He represented Denmark in the
the intensification of human endeavor in the
electronic interference. Major exhibitions
cultural symbols, Laitinen’s performances
2003 Venice Biennale. He currently lives in
twentieth century. He exhibited at the Venice
representations include Manifesta (1996);
become the staged enactment of his vision
Berlin.
Biennale in 2009 and has recently shown
Documenta X (1997); the Johannesburg
of Finnish identity. Combining with a poetry of the absurd, the artist pushes his limits (both
electricity, and
frequency,
at the Hirshhorn Museum and Sculpture
Biennial (1997); “Sound Art–Sound as Media”
Michael Esposito was born 1964 in Gary,
Garden, Washington DC, and the Museum of
at ICC in Tokyo (2000); the Venice Biennale
physical and mental) in while exploring the
Indiana. He is an artist and researcher
Contemporary Art, Sydney. Gerrard lives in
(2001, 2003 and 2005) and Portikus, Frankfurt
wild Nordic landscape. Laitinen represented
in Electronic Voice Phenomena (EVP). An
Vienna, Austria.
(2004). Hausswolff received a Prix Ars
Finland at the Venice Biennale in 2013.
Electronica award for Digital Music in 2002.
ancestor of Alfred Vail, who invented the
Sharon Lockhart is an American artist
Morse Code and several early telegraph
Kai Grehn was born is Grevesmühlen,
devices with his partner Samuel Morse.
Germany, in 1969. He is currently based
Alex Hoda was born in Canterbury in 1980. He
who was born in 1964. Her work frequently
Another ancestor, Jonathan Harned Vail
in Berlin. He first worked as a mailman
was educated at Wimbledon College of Art
considers social issues, primarily through
was
motion film and still photography. She
to
and on the editorial staff at the weekly
and Goldsmiths College, graduating from the
Thomas Edison in his later years when
newspaper Der Anzeiger. In 1991 he began
Royal Academy of Arts, London in 2008. In his
received her BFA from San Francisco Art
Edison was attempting to develop a device
directing studies at the Berlin Ernst Busch
current practice, Hoda also uses a technique
Institute in 1991 and her MFA from Art Center
to communicate with the dead. Michael
acting school and, simultaneously, worked
of automatism to challenge the viewer's
College of Design in 1993. She has been a
studied communication theory at Purdue
as an assistant director and director of
approach to figurative sculpture. Recent
Radcliffe fellow, a Guggenheim fellow, and a
office
manager
and
assistant
Dame,
Tanztheater Skoronel. After graduating in
solo exhibitions include University of the
Rockefeller fellow. Her films and photographic
American University in Cairo, Egypt and
1993 he worked extensively with the band
Arts London; Metro 5 Gallery, Melbourne and
work
Governor’s
SANDOW, while producing radio plays and
Royal British Sculpture Society, London; 20
international film festivals and in museums,
Phantom Airwaves institution, Michael has
theatrical works. Since 2006 he has been the
Projects, Berlin. Recent group shows include
cultural institutions, and galleries around the
participated in hundreds of paranormal
co-organizer of the Lesereihe Bobrowskis
CCA Andratx, Mallorca; Allsopp Contemporary,
world. She is currently an associate professor
investigations all over the world.
Mühle. He lives and works as a freelance
London; 20 Projects, London; and “Newspeak,
at the University of Southern California’s
British Art Now” at the Saatchi Gallery, London.
Roski School of Fine Arts.
University,
University State
of
Notre
University.
Under
the
writer and director in Berlin.
have
been
widely
exhibited
at
Alex Hoda currently lives and works in London.
Oscar Figueroa was born in San José, Costa Rica, in 1986. His solo exhibitions
Noemie Goudal was born in 1984 and
include “Sistema Musaceae”, Pile De La
lives
Melaza 950m³, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica (2011);
Lucia Madriz was born in Costa Rica in 1973. Pierre Huyghe was born in 1962 in Paris,
She lives and works in Karlsruhe, Germany,
interdisciplinary practice investigates the
France. He attended the École Nationale
and Costa Rica. Her recent solo exhibitions
photograph and film as dialectical image,
Supérieure des Arts Décoratifs, Paris (1982–
include “Arte Ba”, Des Pacio Galería, Buenos
wherein truth and fiction cohabit in close
85). Employing folly, leisure, adventure, and
Aires,
Español, San José, Costa Rica (2011); “Para
proximity.
Her work is included in major
celebration in creating art, Huyghe’s films,
Centro
Exportación”,
public institutions and foundations including
installations, and public events range from
Costa Rica (2011); TIES, Galerie Borchardt,
José Figueres Ferrer, San José, Costa Rica
the Fotomuseum Winterthur; David Roberts
a small-town parade to a puppet theater,
Hamburg, Germany (2010); Veritas, Des Pacio
(2007); and “Sociedad Disímil”, Galería 1887,
Art
Foundation;
from a model amusement park to an
Galería, San José, Costa Rica (2010); “AXIS”,
San José, Costa Rica (2007). Group exhibitions
and KNMA. She was the 2013 recipient of
expedition to Antarctica. He is the recipient
Museo de Arte y Diseño Contemporáneo
include
“Control+Alt+Suprimir”,
Centro
Cultural
Casa de Cultura Popular,
between
Foundation;
Paris
and
Conran
art
London.
Her
Argentina Cultural
(2013); de
“Naturalmente”,
España,
San
José,
Concurso
the HSBC Prize, and runner up for the 2012
of numerous awards, including the Solomon
MADC, San José, Costa Rica (2008); “El Atlas
Centroamericano de Videocreación y arte
Paul Huf award at Foam, Amsterdam. Her
R. Guggenheim Museum’s Hugo Boss Prize
del Imperio”, 55th Venice Biennale Pabellón
digital Inquieta Imagen”, Museo de Arte y
solo museum exhibition “The Geometrical
(2002); the Special Award from the Jury of
de Latino América, Italy (2013); “Colores del
Diseño Contemporáneo San José, Costa Rica
Determination of the Sunrise” will tour from
the Venice Biennial (2001); and a Deutscher
Centro”, Mujeres artistas centroamericanas,
(2011); and “ArtBo | Feria Internacional de
The New Art Gallery Walsall, UK, to Foam,
Akademischer
Museo de Arte y Diseño Contemporáneo,
Arte de Bogotá”, Colombia (2011).
Amsterdam, in March 2015.
Fellowship (1999–2000).
172
“Sexta
edición
del
Austausch
Dienst
(DAAD)
San José, Costa Rica (2012).
173
Antti Laitinen was born in northern Finland
public and private collections including the
John Gerrard was born in Dublin in 1974
Carl Michael von Hausswolff was born
Solomon R. Guggenheim Museum, New York,
and studied at the Ruskin School of Drawing
in 1956. He is a composer, visual artist and
in 1975. He completed his MA at The Finnish
Museum of Contemporary Art, Los Angeles,
& Fine Art, School of the Art Institute of
curator based in Stockholm, Sweden. His
Art Academy of Fine Arts in 2004 after years of photographic studies in Turku, Finland.
the Deste Foundation, Athens and Tate. He
Chicago and Trinity College, Dublin. His
main tools are recording devices (camera,
has had major solo exhibitions at Kunsthaus
works are concerned with contemporary
tape deck, radar, sonar) used in an ongoing
Laitinen’s work stems from performances
Bregenz; Musée d’Art Moderne de la Ville de
power in the broadest sense, epitomizing
investigation
of
that are documented through photographs,
Paris; and ZKM (Center for Art and Media),
the networks of energy that characterized
architectural
space
paranormal
videos or objects. Using explicit and oblique
Karlsruhe. He represented Denmark in the
the intensification of human endeavor in the
electronic interference. Major exhibitions
cultural symbols, Laitinen’s performances
2003 Venice Biennale. He currently lives in
twentieth century. He exhibited at the Venice
representations include Manifesta (1996);
become the staged enactment of his vision
Berlin.
Biennale in 2009 and has recently shown
Documenta X (1997); the Johannesburg
of Finnish identity. Combining with a poetry of the absurd, the artist pushes his limits (both
electricity, and
frequency,
at the Hirshhorn Museum and Sculpture
Biennial (1997); “Sound Art–Sound as Media”
Michael Esposito was born 1964 in Gary,
Garden, Washington DC, and the Museum of
at ICC in Tokyo (2000); the Venice Biennale
physical and mental) in while exploring the
Indiana. He is an artist and researcher
Contemporary Art, Sydney. Gerrard lives in
(2001, 2003 and 2005) and Portikus, Frankfurt
wild Nordic landscape. Laitinen represented
in Electronic Voice Phenomena (EVP). An
Vienna, Austria.
(2004). Hausswolff received a Prix Ars
Finland at the Venice Biennale in 2013.
Electronica award for Digital Music in 2002.
ancestor of Alfred Vail, who invented the
Sharon Lockhart is an American artist
Morse Code and several early telegraph
Kai Grehn was born is Grevesmühlen,
devices with his partner Samuel Morse.
Germany, in 1969. He is currently based
Alex Hoda was born in Canterbury in 1980. He
who was born in 1964. Her work frequently
Another ancestor, Jonathan Harned Vail
in Berlin. He first worked as a mailman
was educated at Wimbledon College of Art
considers social issues, primarily through
was
motion film and still photography. She
to
and on the editorial staff at the weekly
and Goldsmiths College, graduating from the
Thomas Edison in his later years when
newspaper Der Anzeiger. In 1991 he began
Royal Academy of Arts, London in 2008. In his
received her BFA from San Francisco Art
Edison was attempting to develop a device
directing studies at the Berlin Ernst Busch
current practice, Hoda also uses a technique
Institute in 1991 and her MFA from Art Center
to communicate with the dead. Michael
acting school and, simultaneously, worked
of automatism to challenge the viewer's
College of Design in 1993. She has been a
studied communication theory at Purdue
as an assistant director and director of
approach to figurative sculpture. Recent
Radcliffe fellow, a Guggenheim fellow, and a
office
manager
and
assistant
Dame,
Tanztheater Skoronel. After graduating in
solo exhibitions include University of the
Rockefeller fellow. Her films and photographic
American University in Cairo, Egypt and
1993 he worked extensively with the band
Arts London; Metro 5 Gallery, Melbourne and
work
Governor’s
SANDOW, while producing radio plays and
Royal British Sculpture Society, London; 20
international film festivals and in museums,
Phantom Airwaves institution, Michael has
theatrical works. Since 2006 he has been the
Projects, Berlin. Recent group shows include
cultural institutions, and galleries around the
participated in hundreds of paranormal
co-organizer of the Lesereihe Bobrowskis
CCA Andratx, Mallorca; Allsopp Contemporary,
world. She is currently an associate professor
investigations all over the world.
Mühle. He lives and works as a freelance
London; 20 Projects, London; and “Newspeak,
at the University of Southern California’s
British Art Now” at the Saatchi Gallery, London.
Roski School of Fine Arts.
University,
University State
of
Notre
University.
Under
the
writer and director in Berlin.
have
been
widely
exhibited
at
Alex Hoda currently lives and works in London.
Oscar Figueroa was born in San José, Costa Rica, in 1986. His solo exhibitions
Noemie Goudal was born in 1984 and
include “Sistema Musaceae”, Pile De La
lives
Melaza 950m³, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica (2011);
Lucia Madriz was born in Costa Rica in 1973. Pierre Huyghe was born in 1962 in Paris,
She lives and works in Karlsruhe, Germany,
interdisciplinary practice investigates the
France. He attended the École Nationale
and Costa Rica. Her recent solo exhibitions
photograph and film as dialectical image,
Supérieure des Arts Décoratifs, Paris (1982–
include “Arte Ba”, Des Pacio Galería, Buenos
wherein truth and fiction cohabit in close
85). Employing folly, leisure, adventure, and
Aires,
Español, San José, Costa Rica (2011); “Para
proximity.
Her work is included in major
celebration in creating art, Huyghe’s films,
Centro
Exportación”,
public institutions and foundations including
installations, and public events range from
Costa Rica (2011); TIES, Galerie Borchardt,
José Figueres Ferrer, San José, Costa Rica
the Fotomuseum Winterthur; David Roberts
a small-town parade to a puppet theater,
Hamburg, Germany (2010); Veritas, Des Pacio
(2007); and “Sociedad Disímil”, Galería 1887,
Art
Foundation;
from a model amusement park to an
Galería, San José, Costa Rica (2010); “AXIS”,
San José, Costa Rica (2007). Group exhibitions
and KNMA. She was the 2013 recipient of
expedition to Antarctica. He is the recipient
Museo de Arte y Diseño Contemporáneo
include
“Control+Alt+Suprimir”,
Centro
Cultural
Casa de Cultura Popular,
between
Foundation;
Paris
and
Conran
art
London.
Her
Argentina Cultural
(2013); de
“Naturalmente”,
España,
San
José,
Concurso
the HSBC Prize, and runner up for the 2012
of numerous awards, including the Solomon
MADC, San José, Costa Rica (2008); “El Atlas
Centroamericano de Videocreación y arte
Paul Huf award at Foam, Amsterdam. Her
R. Guggenheim Museum’s Hugo Boss Prize
del Imperio”, 55th Venice Biennale Pabellón
digital Inquieta Imagen”, Museo de Arte y
solo museum exhibition “The Geometrical
(2002); the Special Award from the Jury of
de Latino América, Italy (2013); “Colores del
Diseño Contemporáneo San José, Costa Rica
Determination of the Sunrise” will tour from
the Venice Biennial (2001); and a Deutscher
Centro”, Mujeres artistas centroamericanas,
(2011); and “ArtBo | Feria Internacional de
The New Art Gallery Walsall, UK, to Foam,
Akademischer
Museo de Arte y Diseño Contemporáneo,
Arte de Bogotá”, Colombia (2011).
Amsterdam, in March 2015.
Fellowship (1999–2000).
172
“Sexta
edición
del
Austausch
Dienst
(DAAD)
San José, Costa Rica (2012).
173
Carsten Nicolai was born 1965 in Karl-Marx-
1993, and 1991); and Documenta XI, Kassel,
Ranville developed and established the
Stadt, Germany. Influenced by scientific
Germany (2002).
Rabbit
reference systems, Nicolai often engages
Secession in 2003; “Deserted Conquest” at
His
SITE Santa Fe in New Mexico, 2007; “Next
work has been exhibited internationally
Time I’m Here I’ll Be There”, Barbican
Island
Residency
program.
mathematical patterns such as grids and
Lari Pittman was born in Los Angeles,
and installations of his work can be found
Art Gallery, London; “Internal Security”,
codes, as well as error, random and self-
California, in 1952. Pittman received both a
or have been shown in countries including
Kasseler Kunstverein, Kassel; “Transport”,
organizing structures. He has participated
BFA (1974) and an MFA (1976) from California
Australia, China, Finland, Morocco, Spain,
Bonner Kunstverein, Bonn; “To Live is to Fly,
in
Institute of the Arts, Valencia. Inspired
UK, and the USA. He has lectured at various
Attitudes”, Espace d’arts contemporains,
Documenta X, and the 49th and 50th
by commercial advertising, folk art, and
universities worldwide.
Venice biennales. Nicolai’s solo exhibitions
decorative
international
exhibitions
including
traditions,
his
Geneva. Schabus represented Austria at the Venice Biennale in 2005. He is the winner of
meticulously
have taken place venues including Schirn
layered paintings transform pattern and
Matthew
London,
prizes including the 2006 Arnold Bode Preis,
Kunsthalle, Frankfurt; Neue Nationalgalerie,
signage
fraught
England, in 1964, and lives and works in New
Kassel, and the Preis der Stadt Wien, Vienna.
into
luxurious
scenes
Ritchie
was
born
in
Berlin; Haus Konstruktiv, Zurich; and CAC,
with complexity, difference, and desire.
York. He received a BFA from Camberwell
Vilnius. Under the pseudonym Noto, Nicolai
He has had major exhibitions at Institute
School of Art, London, and attended Boston
Chicks on Speed is a music and fine art
experiments with sound to create his own
of Contemporary Arts, London (1998); Los
University. His artistic mission is an attempt
ensemble, formed in Munich in 1997, when
code of signs, acoustic and visual symbols.
Angeles County Museum of Art (1996); and
to represent the entire universe and the
members
As Alva Noto he leads those experiments
Contemporary Arts Museum, Houston (1996).
structures of knowledge and belief that we
and New Yorker Melissa Logan met at the
into the field of electronic music.
He has participated in the Venice Biennale
use to understand and visualize it. Ritchie’s
Munich Academy of Fine Arts. Though Chicks
(2003); Documenta X (1997); and three
has had solo exhibitions at Dallas Museum
on Speed reached cult status throughout
Olaf Nicolai was born in 1962, in Halle/Saale,
Whitney Biennial exhibitions (1993, 1995,
of Art; Contemporary Arts Museum, Houston;
the 2000s as catalysts of the musical genre
in the German Democratic Republic, and
1997). Pittman lives and works in Los Angeles.
Massachusetts Museum of Contemporary
Electroclash, Chicks on Speed continue to
Art; San Francisco Museum of Modern Art; and
pursue multidisciplinary art, working across
grew up in Chemnitz (formerly Karl-Marx-
Australian
Alex
Stadt). From 1983 to 1988 he read German
Jon Rafman was born in 1981 in Montreal.
Museum of Contemporary Art, North M iami;
performance,
language and literature at the universities
Rafman’s work examines the effects of
among others. His work was also exhibited at
collage, textile design and fashion. Their
of Leipzig, Vienna and Budapest, and in 1992
contemporary technology, particularly on
the Whitney Biennial (1997); S ydney Biennale
albums include The Un-Releases (1999);
obtained a doctorate from Leipzig University.
interpersonal
(2002); and Bienal de São Paulo (2004).
Chicks On Speed Will Save Us All (2000); The
He also has a diploma in applied arts from
exhibitions include “The Nine Eyes of Google
the Fachhochschule für Angewandte Kunst
Streetview” at the Saatchi Gallery, London;
Ed Ruscha was born in Omaha, Nebraska in
Schneeberg. He lives and works in Berlin. Olaf “Remember Carthage”, New Online Art at
1937 and studied painting, photography, and
No Heads) (2004); Cutting The Edge (May,
Nicolai’s works were shown at Documenta X
the New Museum, NY and also at Palais de
graphic design at the Chouinard Art Institute
2010) and UTOPIA (2014).
(1997), and at the 49th and 51st Biennales in
Tokyo, Paris and Mirror Sites, International
(now CalArts). Major museum exhibitions
Venice (2001 and 2005, respectively).
Art Object Galleries, Los Angeles.
Group
include “Cotton Puffs, Q-Tips®, Smoke and
Daniel
shows include Speculations on Anonymous
Mirrors”, which toured U.S. museums in
born is 1977 in Barcelona, Spain, and is currently based in Rio de Janeiro, Brazil.
relationships.
Recent
solo
electronic
Murray-Leslie
dance
music,
Re-Releases of the Un-Releases (2001); 99 Cents (2003); Press the Spacebar (with the
Steegmann
Mangrané
was
Raymond Pettibon was born in 1957 in
Materials,
The
2004–05; “Ed Ruscha: Photographer”, Whitney
Tucson, Arizona, and graduated with a
Photographer’s Gallery, London; Screenshots
Museum of American Art and the Musée
His practice covers various media and
degree in economics from the University of
at
Art,
National Jeu de Paume, Paris (2006); “Fifty
oscillates between subtle, poetic and raw experiments that question the relationship
Fridericianum,
William
Benton
Kassel;
Museum
of
Connecticut; The Greater Cloud, Netherlands
Years of Painting”, Hayward Gallery, London
Media Art Institute, Amsterdam and From
(2009, and Haus der Kunst, Munich and
between language and world. Selected solo
Here On, Les Rencontres d’Arles, Arles.
Moderna Museet, Stockholm, 2010); “Road
exhibitions
include:
Tested”, Modern Art Museum of Fort Worth,
Mangrané”,
CRAC
Andrew Ranville was born 1981 in Michigan,
Texas (2011); Los Angeles County Museum
Contemporain, Alsace (2014); “Cipó, Taioba,
sexuality. He has participated in a number
USA, and lives and works in London (UK),
of Art (2012); “Los Angeles Apartments”,
Yví ”, Casa França Brasil, Rio de Janeiro
of group exhibitions worldwide, including
since 2006. He received his MFA from the
Kunstmuseum Basel, (2013); and “In Focus:
(2013); “Bicho de nariz delicado, A Certain
the
Liverpool
Slade School of Fine Art in 2008. His projects
Ed Ruscha”, Getty Center, Los Angeles (2013).
Lack of Coherence”, Porto, Portugal (2013).
Biennial (2010); SITE Santa Fe, New Mexico
explore ideas related to site-specificity as
(2010 and 2004); Venice Biennale (2007 and
well as the viewer’s interaction. In 2012
Hans Schabus was born in 1970 in Watschig,
Generational Triennial”, The New Museum,
1999); Whitney Biennial, Whitney Museum
Ranville exhibited at the 4th Marrakech
Austria, and lives and works in Vienna. Key
New York (, 2015); and “Ir para volver”, 12th
of American Art, New York (2004, 1997,
Biennale
solo exhibitions include “Astronaut”, Vienna
Biennal de Cuena, Ecuador (2014).
California, Los Angeles in 1977. work
embraces
a
wide
Pettibon’s
spectrum
of
American “high” and “low” culture, from the deviations of marginal youth to art history, literature, sports, religion, politics, and
174
Istanbul
Biennial
(2011);
in
Morocco.
From
2010–2013
“Daniel
Centre
Steegmann
Rhénan
d'Art
Selected group exhibitions include: “The
175
Carsten Nicolai was born 1965 in Karl-Marx-
1993, and 1991); and Documenta XI, Kassel,
Ranville developed and established the
Stadt, Germany. Influenced by scientific
Germany (2002).
Rabbit
reference systems, Nicolai often engages
Secession in 2003; “Deserted Conquest” at
His
SITE Santa Fe in New Mexico, 2007; “Next
work has been exhibited internationally
Time I’m Here I’ll Be There”, Barbican
Island
Residency
program.
mathematical patterns such as grids and
Lari Pittman was born in Los Angeles,
and installations of his work can be found
Art Gallery, London; “Internal Security”,
codes, as well as error, random and self-
California, in 1952. Pittman received both a
or have been shown in countries including
Kasseler Kunstverein, Kassel; “Transport”,
organizing structures. He has participated
BFA (1974) and an MFA (1976) from California
Australia, China, Finland, Morocco, Spain,
Bonner Kunstverein, Bonn; “To Live is to Fly,
in
Institute of the Arts, Valencia. Inspired
UK, and the USA. He has lectured at various
Attitudes”, Espace d’arts contemporains,
Documenta X, and the 49th and 50th
by commercial advertising, folk art, and
universities worldwide.
Venice biennales. Nicolai’s solo exhibitions
decorative
international
exhibitions
including
traditions,
his
Geneva. Schabus represented Austria at the Venice Biennale in 2005. He is the winner of
meticulously
have taken place venues including Schirn
layered paintings transform pattern and
Matthew
London,
prizes including the 2006 Arnold Bode Preis,
Kunsthalle, Frankfurt; Neue Nationalgalerie,
signage
fraught
England, in 1964, and lives and works in New
Kassel, and the Preis der Stadt Wien, Vienna.
into
luxurious
scenes
Ritchie
was
born
in
Berlin; Haus Konstruktiv, Zurich; and CAC,
with complexity, difference, and desire.
York. He received a BFA from Camberwell
Vilnius. Under the pseudonym Noto, Nicolai
He has had major exhibitions at Institute
School of Art, London, and attended Boston
Chicks on Speed is a music and fine art
experiments with sound to create his own
of Contemporary Arts, London (1998); Los
University. His artistic mission is an attempt
ensemble, formed in Munich in 1997, when
code of signs, acoustic and visual symbols.
Angeles County Museum of Art (1996); and
to represent the entire universe and the
members
As Alva Noto he leads those experiments
Contemporary Arts Museum, Houston (1996).
structures of knowledge and belief that we
and New Yorker Melissa Logan met at the
into the field of electronic music.
He has participated in the Venice Biennale
use to understand and visualize it. Ritchie’s
Munich Academy of Fine Arts. Though Chicks
(2003); Documenta X (1997); and three
has had solo exhibitions at Dallas Museum
on Speed reached cult status throughout
Olaf Nicolai was born in 1962, in Halle/Saale,
Whitney Biennial exhibitions (1993, 1995,
of Art; Contemporary Arts Museum, Houston;
the 2000s as catalysts of the musical genre
in the German Democratic Republic, and
1997). Pittman lives and works in Los Angeles.
Massachusetts Museum of Contemporary
Electroclash, Chicks on Speed continue to
Art; San Francisco Museum of Modern Art; and
pursue multidisciplinary art, working across
grew up in Chemnitz (formerly Karl-Marx-
Australian
Alex
Stadt). From 1983 to 1988 he read German
Jon Rafman was born in 1981 in Montreal.
Museum of Contemporary Art, North M iami;
performance,
language and literature at the universities
Rafman’s work examines the effects of
among others. His work was also exhibited at
collage, textile design and fashion. Their
of Leipzig, Vienna and Budapest, and in 1992
contemporary technology, particularly on
the Whitney Biennial (1997); S ydney Biennale
albums include The Un-Releases (1999);
obtained a doctorate from Leipzig University.
interpersonal
(2002); and Bienal de São Paulo (2004).
Chicks On Speed Will Save Us All (2000); The
He also has a diploma in applied arts from
exhibitions include “The Nine Eyes of Google
the Fachhochschule für Angewandte Kunst
Streetview” at the Saatchi Gallery, London;
Ed Ruscha was born in Omaha, Nebraska in
Schneeberg. He lives and works in Berlin. Olaf “Remember Carthage”, New Online Art at
1937 and studied painting, photography, and
No Heads) (2004); Cutting The Edge (May,
Nicolai’s works were shown at Documenta X
the New Museum, NY and also at Palais de
graphic design at the Chouinard Art Institute
2010) and UTOPIA (2014).
(1997), and at the 49th and 51st Biennales in
Tokyo, Paris and Mirror Sites, International
(now CalArts). Major museum exhibitions
Venice (2001 and 2005, respectively).
Art Object Galleries, Los Angeles.
Group
include “Cotton Puffs, Q-Tips®, Smoke and
Daniel
shows include Speculations on Anonymous
Mirrors”, which toured U.S. museums in
born is 1977 in Barcelona, Spain, and is currently based in Rio de Janeiro, Brazil.
relationships.
Recent
solo
electronic
Murray-Leslie
dance
music,
Re-Releases of the Un-Releases (2001); 99 Cents (2003); Press the Spacebar (with the
Steegmann
Mangrané
was
Raymond Pettibon was born in 1957 in
Materials,
The
2004–05; “Ed Ruscha: Photographer”, Whitney
Tucson, Arizona, and graduated with a
Photographer’s Gallery, London; Screenshots
Museum of American Art and the Musée
His practice covers various media and
degree in economics from the University of
at
Art,
National Jeu de Paume, Paris (2006); “Fifty
oscillates between subtle, poetic and raw experiments that question the relationship
Fridericianum,
William
Benton
Kassel;
Museum
of
Connecticut; The Greater Cloud, Netherlands
Years of Painting”, Hayward Gallery, London
Media Art Institute, Amsterdam and From
(2009, and Haus der Kunst, Munich and
between language and world. Selected solo
Here On, Les Rencontres d’Arles, Arles.
Moderna Museet, Stockholm, 2010); “Road
exhibitions
include:
Tested”, Modern Art Museum of Fort Worth,
Mangrané”,
CRAC
Andrew Ranville was born 1981 in Michigan,
Texas (2011); Los Angeles County Museum
Contemporain, Alsace (2014); “Cipó, Taioba,
sexuality. He has participated in a number
USA, and lives and works in London (UK),
of Art (2012); “Los Angeles Apartments”,
Yví ”, Casa França Brasil, Rio de Janeiro
of group exhibitions worldwide, including
since 2006. He received his MFA from the
Kunstmuseum Basel, (2013); and “In Focus:
(2013); “Bicho de nariz delicado, A Certain
the
Liverpool
Slade School of Fine Art in 2008. His projects
Ed Ruscha”, Getty Center, Los Angeles (2013).
Lack of Coherence”, Porto, Portugal (2013).
Biennial (2010); SITE Santa Fe, New Mexico
explore ideas related to site-specificity as
(2010 and 2004); Venice Biennale (2007 and
well as the viewer’s interaction. In 2012
Hans Schabus was born in 1970 in Watschig,
Generational Triennial”, The New Museum,
1999); Whitney Biennial, Whitney Museum
Ranville exhibited at the 4th Marrakech
Austria, and lives and works in Vienna. Key
New York (, 2015); and “Ir para volver”, 12th
of American Art, New York (2004, 1997,
Biennale
solo exhibitions include “Astronaut”, Vienna
Biennal de Cuena, Ecuador (2014).
California, Los Angeles in 1977. work
embraces
a
wide
Pettibon’s
spectrum
of
American “high” and “low” culture, from the deviations of marginal youth to art history, literature, sports, religion, politics, and
174
Istanbul
Biennial
(2011);
in
Morocco.
From
2010–2013
“Daniel
Centre
Steegmann
Rhénan
d'Art
Selected group exhibitions include: “The
175
Ryan Trecartin was born in 1981 in Webster,
Chris Watson was born in 1953 in Sheffield,
Texas. He received a BFA from the Rhode
UK, where he attended Rowlinson School
Island School of Design in Providence, Rhode
and Stannington College. Watson was a
Island in 2004. Solo exhibitions include
founding member of the influential Sheffield
“Any Ever”, which traveled from the Power
based experimental music group Cabaret
Plant, Toronto in 2009 to the Museum of
Voltaire during the 1970s and early 1980s. His
Contemporary Art, Los Angeles in 2010, then
sound recording career began in 1981 when
to the Museum of Contemporary Art, North
he joined Tyne Tees Television. Since then he
Miami, Florida in 2011; MoMA P.S.1, Long
has developed a particular and passionate
Island City, New York; Musée d'Art Moderne
interest in recording the wildlife sounds of
de la Ville de Paris, France (2011); Kunsthalle
animals, habitats and atmospheres from
Wien, Austria; Wexner Center for the Arts,
around the world. As a freelance composer
Columbus, Ohio; Hammer Museum, Los
and
Angeles; and Elizabeth Dee Gallery, New York.
Watson specializes in natural history and
recordist
for
film,
TV
and
radio,
documentary location sound, together with Suzanne Treister was born in 1958 in London
sound design in post-production.
UK. Treister studied at St Martin's School of Art, London (1978-1981) and Chelsea College
Lawrence Weiner, one of the central figures
of Art and Design, London (1981–1982).
of Conceptual Art, was born in 1942 in the Bronx,
Initially recognized as a painter, she became
New York. After graduating from high school,
a pioneer in the digital/new media/web
Weiner had a variety of jobs—he worked on
based field from the beginning of the 1990s.
an oil tanker, on docks, and unloading railroad
Exhibitions include “HEXEN 2.0 at P.P.O.W.”,
cars. He traveled throughout North America
New York and Cleveland Institute of Art
before returning to New York, where he
(2013); “THE REAL TRUTH A WORLD'S FAIR”,
exhibited at Seth Siegelaub Contemporary Art
Raven Row, London (2012); “HEXEN 2.0”, the
in 1964 and 1965. Weiner’s early work included
Science Museum, London (2012); “Hartware”,
experiments with systematic approaches to
MedienKunstVerein,
shaped canvases and later, featured squares
Dortmund,
Germany
(2012); Secession, Vienna, Austria (2012).
cut out of carpeting or walls. His work has been exhibited at leading institutions internationally.
Janaina Tschäpe was born in 1973 in Munich and is based in New York. Tschäpe
Jana Winderen was born in Bodø, Norway
completed a Fine Arts degree in Hamburg,
in 1965. She was educated in Fine Art at
Germany, and a residency program in
Goldsmiths College in London, and with a
Salvador, Brazil, before moving to New York
background in mathematics, chemistry and
for her Masters of Fine Arts in 1997, where
fish ecology from the University in Oslo.
she currently partially works and resides.
She had an installation in the Park Avenue
Her work was been exhibited at institutions
Tunnel, New York City in the summer of 2014
including IMMA, Dublin; Rubin Museum,
and exhibited at MoMA, NYC in 2013. Jana is
New York; Museu de Arte Moderna, Rio de
artist-in-residence at the TBA21 Academy
Janeiro; and Jeu de Paume, Paris. Tschäpe’s
and releases her audio-visual works on
work is held in public collections, including
Touch. In 2011 she won the Golden Nica, Ars
the Centre Pompidou, Paris; National Gallery
Electronica, for Digital Musics & Sound Art.
of Art, Washington; Solomon R. Guggenheim
Amongst her activities are immersive multi-
Museum, New York; Thyssen-Bornemisza
channel installations and concerts and has
Art Contemporary, Vienna, Austria.
performed all over the world. She currently lives and works in Oslo.
176
TBA21– ACADEMY
THE TBA21 FOUNDATION
REDEFINING THE ART INSTITUTION
Founded in 2002 by Francesca von Habsburg in Vienna, Austria, Thyssen-Bornemisza Art
TBA21–ACADEMY is an itinerant site of
Contemporary (TBA21) represents the fourth
cultural production and interdisciplinary
generation of the Thyssen family’s commit-
exchange; a fellowship organization bringing
ment to the arts. The foundation is dedi-
artists, scientists and thinkers together at
cated primarily to the commissioning and
sea and on land. The Academy commissions
dissemination of ambitious, experi mental,
ambitious projects informed by the iti ne
and unconventional projects that defy tra-
rary of its vessel Dardanella – unique geo
ditional categorizations. This approach has
graphical contexts that raise ecological,
gained the collection a pioneering reputa-
economic
TBA21–
tion throughout the world. The foundation’s
ACADEMY is an adventurous institution
projects promote artistic practices that are
exploring critical geographies, enabled by
architectural, context and site specific, per-
Thyssen-Bornemisza
formative, and often informed by an interest
and
social
Art
issues.
Contemporary
(www.tba21.org)
in social aesthetics and environmental concerns. Many of the projects reflect the shift away from disciplinary to transdisciplinary
A New Chapter in the Culture
practices, embracing architecture, sound,
of Exploration
music, and science. The “cross-pollination” of disciplines challenges interpretation and
TBA21–ACADEMY is reimagining the culture
the traditions of collecting, preserving, and
of exploration, opening a new chapter in the
presenting works of art. This approach re-
history of art at sea. The academy is a critical
flects the vision of TBA21’s founder, Franc-
platform for redefining the expedition in
esca von Habsburg. In addition, TBA21
the post-colonial era, asserting alternative
shares its collection and commissions with
typologies of the artist as explorer and the
numerous museums and public institutions.
sea voyage narrative.
Most commissions, initiated and produced by the foundation, form an integral part of major contemporary art exhibitions, such as
An Interdisciplinary Catalyst
the Venice Biennale, the Istanbul Biennial, and documenta, where new works are very
TBA21–ACADEMY is committed to broadening
much on the agenda. In past years, cross-
the aesthetic parameters by which marine
over performative projects were realized
and coastal realms are understood. Looking
through a number of collaborations, nota-
beyond the binary of the picturesque and
bly with the Staatsoper Unter den Linden in
the documentary exposé, the academy
Berlin, Artangel in London, and the Wiener
commissions projects that complicate and
Festwochen.
deepen our relationship with the ocean. Interdisciplinary approaches, including col laborations between artists and scientists, are a strategic component of this agenda.
17 7
Ryan Trecartin was born in 1981 in Webster,
Chris Watson was born in 1953 in Sheffield,
Texas. He received a BFA from the Rhode
UK, where he attended Rowlinson School
Island School of Design in Providence, Rhode
and Stannington College. Watson was a
Island in 2004. Solo exhibitions include
founding member of the influential Sheffield
“Any Ever”, which traveled from the Power
based experimental music group Cabaret
Plant, Toronto in 2009 to the Museum of
Voltaire during the 1970s and early 1980s. His
Contemporary Art, Los Angeles in 2010, then
sound recording career began in 1981 when
to the Museum of Contemporary Art, North
he joined Tyne Tees Television. Since then he
Miami, Florida in 2011; MoMA P.S.1, Long
has developed a particular and passionate
Island City, New York; Musée d'Art Moderne
interest in recording the wildlife sounds of
de la Ville de Paris, France (2011); Kunsthalle
animals, habitats and atmospheres from
Wien, Austria; Wexner Center for the Arts,
around the world. As a freelance composer
Columbus, Ohio; Hammer Museum, Los
and
Angeles; and Elizabeth Dee Gallery, New York.
Watson specializes in natural history and
recordist
for
film,
TV
and
radio,
documentary location sound, together with Suzanne Treister was born in 1958 in London
sound design in post-production.
UK. Treister studied at St Martin's School of Art, London (1978-1981) and Chelsea College
Lawrence Weiner, one of the central figures
of Art and Design, London (1981–1982).
of Conceptual Art, was born in 1942 in the Bronx,
Initially recognized as a painter, she became
New York. After graduating from high school,
a pioneer in the digital/new media/web
Weiner had a variety of jobs—he worked on
based field from the beginning of the 1990s.
an oil tanker, on docks, and unloading railroad
Exhibitions include “HEXEN 2.0 at P.P.O.W.”,
cars. He traveled throughout North America
New York and Cleveland Institute of Art
before returning to New York, where he
(2013); “THE REAL TRUTH A WORLD'S FAIR”,
exhibited at Seth Siegelaub Contemporary Art
Raven Row, London (2012); “HEXEN 2.0”, the
in 1964 and 1965. Weiner’s early work included
Science Museum, London (2012); “Hartware”,
experiments with systematic approaches to
MedienKunstVerein,
shaped canvases and later, featured squares
Dortmund,
Germany
(2012); Secession, Vienna, Austria (2012).
cut out of carpeting or walls. His work has been exhibited at leading institutions internationally.
Janaina Tschäpe was born in 1973 in Munich and is based in New York. Tschäpe
Jana Winderen was born in Bodø, Norway
completed a Fine Arts degree in Hamburg,
in 1965. She was educated in Fine Art at
Germany, and a residency program in
Goldsmiths College in London, and with a
Salvador, Brazil, before moving to New York
background in mathematics, chemistry and
for her Masters of Fine Arts in 1997, where
fish ecology from the University in Oslo.
she currently partially works and resides.
She had an installation in the Park Avenue
Her work was been exhibited at institutions
Tunnel, New York City in the summer of 2014
including IMMA, Dublin; Rubin Museum,
and exhibited at MoMA, NYC in 2013. Jana is
New York; Museu de Arte Moderna, Rio de
artist-in-residence at the TBA21 Academy
Janeiro; and Jeu de Paume, Paris. Tschäpe’s
and releases her audio-visual works on
work is held in public collections, including
Touch. In 2011 she won the Golden Nica, Ars
the Centre Pompidou, Paris; National Gallery
Electronica, for Digital Musics & Sound Art.
of Art, Washington; Solomon R. Guggenheim
Amongst her activities are immersive multi-
Museum, New York; Thyssen-Bornemisza
channel installations and concerts and has
Art Contemporary, Vienna, Austria.
performed all over the world. She currently lives and works in Oslo.
176
TBA21– ACADEMY
THE TBA21 FOUNDATION
REDEFINING THE ART INSTITUTION
Founded in 2002 by Francesca von Habsburg in Vienna, Austria, Thyssen-Bornemisza Art
TBA21–ACADEMY is an itinerant site of
Contemporary (TBA21) represents the fourth
cultural production and interdisciplinary
generation of the Thyssen family’s commit-
exchange; a fellowship organization bringing
ment to the arts. The foundation is dedi-
artists, scientists and thinkers together at
cated primarily to the commissioning and
sea and on land. The Academy commissions
dissemination of ambitious, experi mental,
ambitious projects informed by the iti ne
and unconventional projects that defy tra-
rary of its vessel Dardanella – unique geo
ditional categorizations. This approach has
graphical contexts that raise ecological,
gained the collection a pioneering reputa-
economic
TBA21–
tion throughout the world. The foundation’s
ACADEMY is an adventurous institution
projects promote artistic practices that are
exploring critical geographies, enabled by
architectural, context and site specific, per-
Thyssen-Bornemisza
formative, and often informed by an interest
and
social
Art
issues.
Contemporary
(www.tba21.org)
in social aesthetics and environmental concerns. Many of the projects reflect the shift away from disciplinary to transdisciplinary
A New Chapter in the Culture
practices, embracing architecture, sound,
of Exploration
music, and science. The “cross-pollination” of disciplines challenges interpretation and
TBA21–ACADEMY is reimagining the culture
the traditions of collecting, preserving, and
of exploration, opening a new chapter in the
presenting works of art. This approach re-
history of art at sea. The academy is a critical
flects the vision of TBA21’s founder, Franc-
platform for redefining the expedition in
esca von Habsburg. In addition, TBA21
the post-colonial era, asserting alternative
shares its collection and commissions with
typologies of the artist as explorer and the
numerous museums and public institutions.
sea voyage narrative.
Most commissions, initiated and produced by the foundation, form an integral part of major contemporary art exhibitions, such as
An Interdisciplinary Catalyst
the Venice Biennale, the Istanbul Biennial, and documenta, where new works are very
TBA21–ACADEMY is committed to broadening
much on the agenda. In past years, cross-
the aesthetic parameters by which marine
over performative projects were realized
and coastal realms are understood. Looking
through a number of collaborations, nota-
beyond the binary of the picturesque and
bly with the Staatsoper Unter den Linden in
the documentary exposé, the academy
Berlin, Artangel in London, and the Wiener
commissions projects that complicate and
Festwochen.
deepen our relationship with the ocean. Interdisciplinary approaches, including col laborations between artists and scientists, are a strategic component of this agenda.
17 7
PROJECT CREDITS
THANKS
Team
Pelagic Project Consultants
Francesca von Habsburg, Chairwoman
Dr Dayne Buddo
Markus Reymann, Director
Nico Ghersinich
Nadim Samman, Curator
Ocean Ramsey
Laura Egger, Project Management
Ilena Zanella
IMAGE CREDITS
Julia Koehn, Project Management Christian Url, Development Ocean Ramsey, Pelagic Project
Dardanella Crew
Consultant & Safety Diver Nico Ghersinich, Pelagic Project
Brady MacDonald, Captain
Consultant & Safety Diver
Jacob MacDonald, First Mate
Pepe Monge Garcia, Skiff Driver
Alex Martinez, Chief Engineer
José Alesandro Álvares, Underwater
Ryan Lombard, Deck Hand
Photography
Sandra Quintero, Chief Stewardess Stacy Burscough, Second Stewardess Sarah Gilbert, Chef
Advisors Nicolas Anouilh
Administration
Maria Wilhelm, CAMERON Companies Fernando Quiros Brenes, SINAC
Niclas Schmiedmaier,
Carlos Uribe, FAICO
Administration Manager Karin Berger, Finance Manager Beate Vásquez Valencia,
Chest & Map
PA to Francesca von Habsburg
Aranda/Lasch, Artists Constant Dullaart, Artist
Thyssen-Bornemisza
Phillip Krummel, Technical Consultant
Art Contemporary (TBA21)
Simone Sentall, Logistics
Koestlergasse 1/22, A-1060 Vienna
Wolfgang Prohaska, Chest Fabriation
T +43 1 513 98 56 | F +43 1 513 98 56 22
Bernhard Voslamber, Map Fabrication
office@tba21academy.org
Olaf Trommer, Map Modelling
For press and media enquiries please contact: press@tba21.org
Expedition Artists
www.tba21academy.org
Julian Charrière Carsten Nicolai Andrew Ranville Pascale Wyse
178
179
PROJECT CREDITS
THANKS
Team
Pelagic Project Consultants
Francesca von Habsburg, Chairwoman
Dr Dayne Buddo
Markus Reymann, Director
Nico Ghersinich
Nadim Samman, Curator
Ocean Ramsey
Laura Egger, Project Management
Ilena Zanella
IMAGE CREDITS
Julia Koehn, Project Management Christian Url, Development Ocean Ramsey, Pelagic Project
Dardanella Crew
Consultant & Safety Diver Nico Ghersinich, Pelagic Project
Brady MacDonald, Captain
Consultant & Safety Diver
Jacob MacDonald, First Mate
Pepe Monge Garcia, Skiff Driver
Alex Martinez, Chief Engineer
José Alesandro Álvares, Underwater
Ryan Lombard, Deck Hand
Photography
Sandra Quintero, Chief Stewardess Stacy Burscough, Second Stewardess Sarah Gilbert, Chef
Advisors Nicolas Anouilh
Administration
Maria Wilhelm, CAMERON Companies Fernando Quiros Brenes, SINAC
Niclas Schmiedmaier,
Carlos Uribe, FAICO
Administration Manager Karin Berger, Finance Manager Beate Vásquez Valencia,
Chest & Map
PA to Francesca von Habsburg
Aranda/Lasch, Artists Constant Dullaart, Artist
Thyssen-Bornemisza
Phillip Krummel, Technical Consultant
Art Contemporary (TBA21)
Simone Sentall, Logistics
Koestlergasse 1/22, A-1060 Vienna
Wolfgang Prohaska, Chest Fabriation
T +43 1 513 98 56 | F +43 1 513 98 56 22
Bernhard Voslamber, Map Fabrication
office@tba21academy.org
Olaf Trommer, Map Modelling
For press and media enquiries please contact: press@tba21.org
Expedition Artists
www.tba21academy.org
Julian Charrière Carsten Nicolai Andrew Ranville Pascale Wyse
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Treasure of Lima: A Buried Exhibition Published by Sternberg Press
Graphic design: schienerl d /ad , Vienna
Copyright Š ... Sternberg
Printed in the Czech Republic ISBN 978-3-95679-107-9
Sternberg Press Caroline Schneider Karl-Marx-Allee 78 D-10243 Berlin www.sternberg-press.com
180
Captain William Thompson Mariner, turncoat, and buccaneer Photo: private archive
COLOPHON
Treasure of Lima: A Buried Exhibition Published by Sternberg Press
Graphic design: schienerl d /ad , Vienna
Copyright Š ... Sternberg
Printed in the Czech Republic ISBN 978-3-95679-107-9
Sternberg Press Caroline Schneider Karl-Marx-Allee 78 D-10243 Berlin www.sternberg-press.com
180
Captain William Thompson Mariner, turncoat, and buccaneer Photo: private archive
COLOPHON
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