Guantanamo Allocation Center

[exhibition announcement]

"The 'existential function' of the act of creation leads to the affirmation and the creation of a territory, a group, a singularity, a meaning. But it is only possible to articulate the meaning of a situation in relation to an action undertaken to transform it. To situate oneself somewhere, to create a territory or new modes of subjectification and articulation, is both a political and an existential question. And this concerns social practices as much as artistic practices."

(Maurizio Lazzarato: Art and Work)

A Project in Public Private Partnership
Initiated by Christoph Faulhaber
Realised and Supported by Freie und Hansestadt Hamburg VENUE Hafencity Hamburg Shanghaiallee/Yokohamastr. 20457 Hamburg, Germany

Being one of the first municipalities throughout Europe, the state and city administration of Hamburg, Freie und Hansestadt Hamburg, has accredited the public private partnership 'Guantanamo Allocation Center'.

The Guantanamo Allocation Center is an initiative dedicated to the question of relocating the remaining detainees still in custody at the soon to be closed US MILITARY BASE. GAC focuses on the global process of allocation and relocation, and aims to provide accommodations in Germany that offer a process of re-socialization by providing and furnishing a temporary, and eventual, final home.

The project was kicked off by the German artist Christoph Faulhaber and has already teamed up with further both private and public institutions and corporations. With its first installment GAC sets out to laying the foundation for final decisions in the global process of relocating the remaining inmates.

The first installment, considered as temporary accommodation, consists of mobile units each giving room to one inmate. Four wooden crates match one 40 ft. high cube shipping container. The temporary lodging will be accompanied by a program of activities encompassing various aspects, topics and personalities from within the legislation and political process.

In order to realize the final installment, GAC has opted for a vacant lot, part of which was formerly the MAUERSTREIFEN, the military zone within the Berlin Wall. The design of the yet undeveloped 'final home' is oriented towards contemporary designs in architecture and urban planning, taking into account the special needs of the inhabitants.

Furthermore, GAC engages on consultations with international decision makers to preparing ground for the resettling of further inmates.Since GAC relies entirely on civic and individual engagement, we would very much acknowledge support and funding from any direction.

For more information please consult:

Guantanamo Allocation Center
Mr. Christoph Faulhaber
http://www.gac-web.org/

Freie und Hansestadt Hamburg
Senator Ms. Karin von Welck
http://www.hamburg.de/

HafenCity Hamburg GmbH
Ms. Penzlien
http://www.hafencity.com/

Special Envoy to Closing Guantanamo
Ambassador Mr. Daniel Fried
http://www.state.gov/

artfinder Gallery
Mathias Güntner
http://www.artfinder.de/

Image: Street art by Banksy, found here on the Prison Photography blog

A Slow Start

"Landscape is ultimately going to subsume us all, it's the inevitable destination of all living things. So it is almost an irony that landscape is one of the expected subjects for painters... I describe my works as an unnatural staging of the natural. There is also a contemplation of monumentality, in the sense that I make a lot of very small works but I"m also drawn to making something so big that it is part of the landscape, a sense of scale that is also a mechanics of play. And there's a desire to make something that has a time component... What we have initiated is what I call a permanent work in progress. I will be long dead by the time the work reaches fruition, when the plants are mature enough to flower goldenly and magnificently. So what I think I can justifiably claim is that what we are working on is the slowets art work in New Zealand."

So says John Reynolds, in his book Certain Words Drawn, about his earth works SNOW TUSSOCK, GOLDEN SPANIARD and Cordyline. The first two are part of a larger project employing artists, also including Gavin Hipkins and Jae Hoon Lee, to rejuvenate the heavily mined landscape of Macraes Flat. Cordyline is hidden on Alan Gibbs' private sculpture park at The Farm in Kaipara. There is a fourth earth work by Reynolds, which precedes these but doesn't seem to have been concluded. This was part of a bigger multi-disciplinary project about layering data on the Auckand landscape. The first of a proposed series of planted arrow formations should be growing somewhere around here at UNITEC.

Reynolds' comments on temporality ring true when visiting these works via google. Golden Spaniard is shown at a very early stage with what look like heaped tailings being gathered into a giant koru shape before being sculpted into a ziggurat form. The earth-moving is now completed but there are many years of growing ahead. In anticipation of potential future phases of Art from Space, we will start archiving these map images as they are updated for juxtaposition with later incarnations.

Bearing in mind the wiry motifs Reynolds now has self-propogating around the countryside, it's easy to also look at these two forms as an interesting pair of in-progress drawings HERE and HERE. And just for good measure, here is the inverted ziggurat of the still-functioning WAIHI GOLDMINE.

Image: John Reynolds, The Garden for the Blind, proposed detail of installation in Orakei.

Blowing in the wind

The Auckland Art Gallery's Outpost blog has just posted some great images of their George Rickey (1907-2002) Double L kinetic sculpture being put into storage for the duration of the gallery's lengthy redevelopment. Outpost also notes a couple of other editions of the same work; one outside the Asian Art Museum in San Francisco, which has much better AERIAL IMAGERY (pictured) than its AUCKLAND COUNTERPART, which is essentially invisible. And also a third edition at the Pepsico Sculpture Park in New York. Strangely, although the surrounding properties have perfect resolution at the closest magnification, the GROUNDS OF PEPSICO look like they have been photoshopped with one of those watercolour-type filters. Is there a copyright issue with works of art appearing on google maps? Still, based on this record of what is at the park, we do get to play spot-the-mystery-object with all the large, dark blobs.

Battle of the Triffids

Currently on show at Te Tuhi, Pakuranga is Land Wars, an ambitious multi-platform exhibition curated by Emma Bugden, which looks at the ways land is contested in our present age. John Hurrell has reviewed the show on his eyeCONTACT blog.

Amongst the usual contemporary range of documented sites and actions, relational projects and moving image footage, there is a set of intentionally old-fashioned looking paintings by Michael Shepherd. Michael is the master of artificial aging and could probably paint a convincing looking plasma screen and still have it look like it was made 50 years ago. He was also acknowledged with a Member of the New Zealand Order of Merit (MoNZOM?) for services to art in the latest Queen's Birthday honours list.

I was particularly taken by the wall-label description of his work in Land Wars, which proposes an interesting analogy between the serried ranks of garden centre products and fascist processions:

[...] The three works exhibited here consider changes to the natural wilderness through human intervention. In this, Shepherd includes destruction through development of land but also well intentioned acts of cultivation which unwittingly have an impact on reshaping nature.

The painting Versailles refers to perhaps the most famous garden in the world, the Château de Versailles, described by the artist as the “ultimate constructed landscape”. In Shepherd’s version the formal garden of Versailles is replaced by the Oratia Native Nurseries in the Waitakeres, where native seedlings are laid out waiting to be purchased and planted, a precise and somewhat unnatural arrangement which the artist has likened to a “Nuremberg rally for plants”. [...]

Here, for your own consideration, are the battlegrounds of ORATIA and VERSAILLES.

Image: Michael Shepherd, Versailles 2007/8. Oil on linen. Courtesy of Jane Sanders, Auckland

Sculpture parking

A recent post on overthenet had me wondering about just how impressive sculpture parks might look by satellite. There's a bunch of them around and they're specifically set up for big outdoor work.

Here's Vigeland Park, as recommended by overthenet. An impressive setting but not much to be SEEN FROM ABOVE.

There are two public parks just out of Auckland. Connell's Bay on Waiheke Island; the YELLOW SPECK ON THE RIGHT of the path going north from the bay is probably the Phil Price piece gyrating away. And Brick Bay Sculpture Trail near Matakana, with an impressive piece of land work that can be SEEN FROM A LONG WAY UP. No sign of the pavilion on the lake so the current map must pre-date the official opening of the trail. Not to forget Alan Gibbs' estate on the Kaipara Harbour, which is unfortunately (suspiciously?) OUT OF FOCUS.

The Cass Sculpture Foundation near Goodwood, UK is the model for Brick Bay, but not much that's recognisable to be SEEN FROM ABOVE except the roof of Alex Hartley's Pavilion.

Finally, here's the Chinati Foundation in Marfa, Texas. Nice to SEE SOME MODERNIST BOXES out in the desert.