Archive for the ‘STAND-UP artists’ Category

Marcelo Brodsky (AR) “Good Memory / Buena Memoria” (photos and videos 1’50”, 3’05”, 5’10”, 1997),

In STAND-UP artists on February 28, 2009 at 1:41 pm

Marcelo Brodsky

MD in Economy at the University of Barcelona, trained as a photographer at the International Center of Photography in Barcelona with Catalonian photographer Manel Esclusa, during his exile in Barcelona in the 80s.

Brodsky is a member of the Buena Memoria Human Rights organization and the Pro-Monument to the Victims of State Terrorism Commission, which supervises and coordinates the construction of the Memory Park close to the Río de la Plata River and of the Monument to the missing and murdered during the military dictatorship.

His mnemonic work seeks to communicate to the new generations the experience of the state terrorism in Argentine in a specific way, based on emotion and sensate experience, such that the transmission of it will generate a real and profound knowledge based on dialogue among the different generations affected by the consequences of the military dictatorship.

His visual correspondences with different artists inquire about the possibility to create a language that is purely visual, which allows interpersonal communication using in a creative way the resources new technologies provide at present.

These dialogues without texts are paradoxically another aspect of the inquiry about the relation between word and image. They invite spectators to take their own conclusions and to interpret the visual exchange based on their experience and visual culture.

Good Memory / Buena Memoria

Poster 67x38.indd

shows the personal and collective evolution of a class of the Colegio Nacional de Buenos Aires marked by two “missing” students due to the State Terrorism.

Taking into account that my brother, Fernando, disappeared during the military dictatorship in Argentina and that some of my classmates of the Colegio Nacional de Buenos Aires disappeared in those days too, my artwork is closely connected with human rights issues since the beginning. My intention is to communicate to the new generations the experience of the state terrorism in a different way such that the transmission of it will generate consciousness and memory. Photography, with its precise ability to freeze a point in time, was the tool I used for this purpose.


FONTANA – FAVE – AELTERS (FR) “Grenze” (video performance 49’34”, 2006),

In STAND-UP artists on February 25, 2009 at 1:45 pm


work together since the video-performance GRENZE.



One of the meanings of the German word « Grenze » is the limit as a border separating two areas, which by defi – nition can be crossed.

GRENZE is a series of visual readings based on Capital by Karl Marx (part 1).

Grenze opens up a series of refl ections around capital as Marx analysed it, in an attempt to better understand it in its present form.

GRENZE is a vision of the metamorphoses of the capitalist system. It is a visual translation of «Capital». It progressively unfolds a chain of metamorphic movements. Faced with the construction of an infernal and destructive mechanism, we respond with our look, our waiting, time.

GRENZE consists of sequences called ARTIFICIAL UNITS OF DEVELOPMENT (AUD) that correspond to drawn notes made during readings of Capital.

Democracia (ESP)“ Welfare State / Smashing the Ghetto “ (video 8’ 10”, 2008),

In STAND-UP artists on February 25, 2009 at 1:31 pm


is a work team formed in Madrid (Spain). The decision to work as a group springs from the intention of engaging in an artistic practice centered on discussion and the clash of ideas and forms of action. The fact of working in a group in itself establishes an interest in intervening in the social sphere, by means of ideas of commitment to the real.

Also Democracia works in publishing (they are directors of Nolens Volens magazine) and curatorial projects (No Futuro, Madrid Abierto 2008, Creador de Dueños). Its members (Pablo España and Iván López) were founders and part of El Perro group (founded in 1989) until it dissolved in May 2006.


The “Welfare State” project

has its origin in El Salobral, one of Europe’s largest shanty towns located on the southern outskirts of Madrid. In March 2007, the Madrid City Council and the Regional Government decided that the slum should be demolished and its inhabitants rehoused.

Smashing the ghetto” is a single channel video installation displaying the demolition of these slum properties as if it were a sports event. The public watches the process from its seats on the stands and cheers on the bulldozers in a hooliganish style. The project turns the destruction of the neighbourhood into a show for the members of civil society. Unconcerned by considerations like the disappearance of a specific way of life, civil society celebrates the end of the ghetto as if it were a media spectacle.

Shahriar Asdollah-Zadeh (NZ) “World Art Collective; Persecution of Bahai’s in Iran” (Video 25’19”, Photography, 2008),

In STAND-UP artists on February 20, 2009 at 9:42 pm

Shahriar Asdollah-zadeh

Born in the Philippines in 1985 to a Persian father and Filipino mother, Shahriar Asdollah-zadeh migrated with his family in 1989 to Auckland, New Zealand, where he now resides. Shahriar’s interest in the fine arts from his childhood no doubt was influenced by the fact that his grandfather and uncle were themselves gifted artists. Learning more about his heritage, particularly regarding the persecution of his relatives in Iran in the 1980’s for their belief in the Bahá’í faith, fanned the flames of Shahriar’s desire to use the arts to raise awareness of social issues.

His most recent artwork has been broadcast on national TV, and featured in major daily newspapers, and magazines.

Shahriar launched in march 2008, the website that has become the vehicle for raising awareness of human rights violations, injustices and persecution.

Shahriar has always been interested in the power of technology, particularly the internet, in opening broad avenues of interaction among the world’s diverse populations. He aims to engage those who have been previously unexposed to what contemporary art can achieve socially and expand beyond the confines of a traditional art gallery setting.

“Artists are now able to use global communication as a medium to express the arts. Online social programmes such as Facebook, YouTube and Flickr are rapidly growing like a living organism and millions upon millions are signing up to join these trends of modern age popular culture,” says Shahriar.

World Art Collective; Persecution of Bahai’s in Iran


Artists can create awareness through contemporary art about the turbulent times we live in, the issues and problems that plague the world collectively. In my practice I am interested in creating art that directly addresses ideas of social change and reform within society.

We live in a time when there are constant advances in communication technologies that open broad avenues of interaction among the planet’s diverse populations. Artists are able to use this global communication and diversity of the world’s people as a tool to express the arts. I used the social internet network Facebook to collaborate with participants around the world. I empowered them by giving them the opportunity, to protest and thereby becoming participants of social action. A process took place where the artist and the participant interacted and influenced one another. The internet allows for the free expression of uncensored, unofficial, views, opinions, political, social dialogue and interaction. The internet has proved to be a useful tool for artists seeking an audience outside conventional art-world settings. This is what interests me a medium of art that cannot be controlled but is free and accessible for a large population of the world to view at a click of a mouse. I have always been interested about the power of social communication technology within the internet and watching it evolve. Now on line social programs such as Facebook, YouTube and Flickr are rapidly growing like a living organism and millions upon millions are constantly signing up to join these trends of modern age popular culture. Artists have the chance to exploit and tap into this popular culture phenomenon within their creative practices and reach out to new audiences and like minded people through cyber space.

I created a website http:// This is my platform where I created awareness about the issue of human rights violations, injustice and persecution. What I am interested in is the Universal Declaration of Human Rights, Article’s 18, 19 and 26 in particular. I directed my artwork to a specific minority group. The group is the Bahá’í community which is being oppressed and persecuted by the fanatical regime governing Iran.

I have used the power of the internet and e-mail to create a global network of the world’s people—a demographically diverse group have thereby come together to participate in this world wide artists’ collective. I left it open for anyone who was on Facebook to join my world wide collective and participate in this project in collaboration with me. To date more than 1750 people have joined the group and I have received photographs and text messages from around the world from people who are concerned about the injustice and human rights violations directed at the Persian Bahá’í community in Iran.

The artwork evolved through the conversations that have been taking place creating awareness about the persecution of Bahai’s in Iran. This was generated from the instructions I posted on It is the individuals from around the world making a conscious decision to participate and thereby educating their friends, families, co-workers, associates and strangers about the persecution, injustice and oppression that plague our world. The conversations and interactions between people talking about the persecution is the artwork and the photographs and text messages are a documentation of that event. It was a worldwide collaboration of hundreds and hundreds of people. The artwork thereby becomes a symbol of a time based event that happened over a course of several months around the world.

Over the year my work has dealt with the issues of Human Rights and Persecution through several bodies of artwork. I wanted to explore what could be achieved through the different contemporary mediums of practice and how it could influence aspects of the year long project. These were done through, photography, sculpture, video, installation, sound, internet websites and communication technology (e-mail and text messaging.)

In essence, I have used modern age technologies to communicate an idea of collective unity, justice and human rights through contemporary art.

Sarawut Chutiwongpeti (TH) “24 hours” (net art project),

In STAND-UP artists on February 20, 2009 at 9:37 pm

Sarawut Chutiwongpeti

Sarawut Chutiwongpeti was bor in Thailand. He graduated from the Department of Fine and Applied Arts at Chulalongkorn University in 1996. Since graduation, he has been working as a media artist with Cyber Lab at the Center of Academic Resources, Chulalongkorn University. He works in the realm of contemporary art and is interested in revealing the unexplored facets of experience. In 1998-2009, he secured funding and traveled as a visiting artist/researcher to several countries such as: Canada, the United States of America, Denmark, Finland, Norway, Sweden, Slovenia, Slovakia, Hungary, Croatia, Austria, Italy, Germany, Egypt, Singapore, Malaysia, Korea and Japan.

24 hours


The goal of this work is to investigate the expressive possibilities of conceptual visual language and to develop Collaborative New Art as part of both Contemporary Art/Contemporary Global Structure and the Technological Civilization in which we live today. I am especially interested in finding out how contemporary art can enhance the distribution of information and foster a profound universality in the human nature and cross-cultural artistic and critical collaboration. The meaning of the very possibility to enrich contemporary art may also come into question. In my inquiry, I am guided by the following set of questions: Are sensations-reactions to contemporary art still significant today? In what way and how can contemporary art theory and practice address and help solve today’s global problems? And finally, Can contemporary conceptual art disclose the corrupted social values in mega polices and create a bridge between the present and the future generations?.


Sarawut Chutiwongpeti

urodził się w Tajlandii. Ukończył Wydział Sztuk Pięknych i Stosowanych na Uniwersytecie Chulalongkorn w 1996 roku. Od tego czasu pracuje jako artysta medialny w Pracowni Multimedialnej w Akademickim Centrum Zasobów Informacyjnych na Uniwersytecie Chulalongkorn .Jego domeną jest sztuka współczesna. Interesuje go odkrywanie niezbadanych aspektów ludzkiego doświadczenia. W latach 1998-2009 zdobył fundusze, dzięki którym odwiedził jako artysta/naukowiec wizytujący takie kraje jak: Kanada, Stany Zjednoczone, Dania, Finlandia, Norwegia, Szwecja, Słowenia, Słowacja, Węgry, Chorwacja, Austria, Włochy, Niemcy, Egipt, Singapur, Malezja, Korea i Japonia.

24 godziny


Celem tej pracy jest zbadanie możliwości ekspresyjnych konceptualnego języka obrazu i rozwój Nowej Wspólnej Sztuki jako części Sztuki Współczesnej/ Współczesnej Struktury Globalnej i Cywilizacji Technologicznej, w której obecnie żyjemy. Jestem zwłaszcza zainteresowany odkrywaniem tego, jak sztuka współczesna może rozszerzyć zasięg przekazu informacji i promować głęboki uniwersalizm natury ludzkiej oraz międzykulturową artystyczną i krytyczna współpracę. Sama możliwość wzbogacenia współczesnej sztuki również może być kwestionowana. W moich poszukiwaniach staram się odpowiedzieć na następujące pytania. Czy odczucia-reakcje na sztukę współczesną nadal coś znaczą? W jaki sposób teoria i praktyka sztuki współczesnej może rozwiązać aktualne światowe problemy? Jako ostatnie pytanie: czy współczesna sztuka konceptualna może obnażyć zdewaluowane wartości społeczne w megapolis i zbudować most pomiędzy obecnym i przyszłym pokoleniem?

Lucilla Kossowska (PL) „Made in China” (video 6’33”, 2008),

In STAND-UP artists on February 20, 2009 at 9:27 pm

Lucilla Kossowska

działa w przestrzeni społecznej, reżyseruje krótkie formy filmowe, uprawia malarstwo. W 2008 zrealizowała film Made in China wyróżniony Nagrodą Prezydenta Miasta Opola. Uczestniczyła w Festiwalu Sztuki Współczesnej New Life Berlin 2008 w przestrzeni społecznej berlińskiej dzielnicy Neukoln ( oraz w XVIII Festiwalu Mediów Człowiek w Zagrożeniu Łódz 2008.

Ukończyła ASP we Wrocławiu (podyplomowe malarstwo), Instytut Sztuki w San Francisco i Politechnikę Radomską. Członek ZPAP (Związku Polskich Artystów Plastyków”, INSEA (Międzynarodowe Stowarzyszenie Edukacji przez Sztukę) i NGA (Nyska Grupa Artystyczna).

Made in China”



Inspiracją do filmu było stłumienie przez komunistyczne Chiny powstania w Tybecie w 2008 roku, film piętnuje hipokryzję współczesnego świata, który ze względu na ekonomiczne współzależności przyzwala na regularne łamanie praw człowieka. Obrazy są kontynuacją tej tematyki w zakresie torturowania więźniów oraz nielegalnego pozyskiwania pośród nich dawców na transplantacje organów.

Projekt ma walory edukacyjne – nie epatuje agresją ani brutalnością choć o takich kwestiach traktuje, jest liryczny i poetycki, skłania do refleksji nad kondycją współczesnego człowieczeństwa.

Natasha Vita-More (US) “Morphological Freedom” (4 photographs, 2008),

In STAND-UP artists on February 20, 2009 at 3:21 am

Natasha Vita-More

media artist (BFA, MSc, MPhil) is a PhD Candidate, Planetary Collegium, University of Plymouth.

Natasha’s research investigates the transformative human and radical life extension, with a focus on social change and the potential of emerging influencers—nanotechnology, biotechnology, information technology and cognitive science (NBIC). She lectures on human/machine interfaces, and on philosophical outlooks concerning human rights and ethical means for human augmentation.

Natasha’s design Primo Posthuman, future human prototype, has been featured in Wired, LAWeekly, The New York Times, U.S. News & World Report, Net Business, Teleopolis, and Village Voice. She appears in twenty-four televised documentaries on human futures and exhibited at National Centre for Contemporary Arts, Brooks Memorial Museum, Institute of Contemporary Art, Women In Video, Telluride Film Festival, U.S. Film Festival, and recently “Evolution Haute Couture: Art and Science in the Post-Biological Age”.

Natasha is a proponent human rights and ethical means for human enhancement, and is published in Artifact, Technoetic Arts, Nanotechnology Perceptions, Annual Workshop on Geoethical Nanotechnology, Death And Anti-Death. She has a bi-monthly column in Nanotechnology Now, and is currently the Guest Editor of The Global Spiral academic journal. Formerly president of Extropy Institute, she currently advises non-profit organizations including Center for Responsible Nanotechnology, Adaptive A.I., and LifeBoat Foundation, and a Fellow of the Institute for Ethics and Emerging Technologies.

Morphological Freedom


Emerging technologies such as nanotechnology, biotechnology, information technology and cognitive and neuro sciences (NBIC) are augmenting, extending and enhancing human biological, and consequently human cognition. The body and the mind/brain are at the crux of this issue. Two issues concerning human rights are on the table: How will we protect the rights of people who want to be enhanced? Of equal importance is how will be protect the rights of people who do not want to be enhanced?

This practice based work titled “Morphological Freedom” is expressed in visual narrative which illustrates the human body and the human rights to enhance one’s body and personal identity and the right not to be coerced to enhance one’s body and personal identity.

The entire concept of morphological freedom addresses the pros and cons of accelerating technological change and decide what type of human being we might become as we augment, enhance, and morph our human biology with newly developing technologies. The enhancements are the result of scientific investigations and discoveries, technological innovations and applications, and design intentions, methods and visual and sensorial appeal, by which human physiology is changed or morphed. I suggest that the transformative human’s physical presence, its biology, and its cognition and identity, are to be enhanced and reshaped through nano-bio-info technologies and cognitive and neuro sciences. Here, worldviews which aptly address such changes and are investigating how these changes could affect us individually and as a society, such as transhumanism, might seek the continuation of life beyond currently human biological limited lifespan, and addresses the means by which science and technology could ethically provide positive and practical values.

Issues concerning human futures — the augmentation, extension and enhancement of the body/mind has been of consequence in the arts most significantly from the Electronic Arts period, and becoming more consequently during the time frame of robotics, cybernetics and information technologies. Now we are in the period of Biotech/Nanotech where more dramatic changes are occurring and what it means to be human is of issue. Because artists create our works of art (both practice-basted and theoretical) with the specific “tools of the times”, we are now using biotechnological tools and nanotechological tools, as seen in Bioart practices and more recently nanotechnological art conceptions. Artists must be aware of both the consequences and the benefits of using the specific nano-bio-info-cogno quartet of tools in creating works of art, which will be located in the augmentation, extension and enhancement of the human body and mind.

Manu Luksch (GB) „Faceless” ( movie 50’00”, 2007),,

In STAND-UP artists on February 20, 2009 at 3:10 am

Manu Luksch

founder of Ambient Information Systems, is filmmaker who works outside the frame. The moving image, and in particular the evolution of film in the digital or networked age, has been a core theme of her works. Characteristic is the blurring of boundaries between linear and hypertextual narrative, directed work and multiple authorship, and post-produced and self-generative pieces. Expanding the idea of the viewing environment is also of importance; recent works have been shown on electronic billboards in public urban spaces and open air cinemas in remote rural places.

Her current film project, Faceless, is a science fiction fairy tale compiled from surveillance video footage recovered under the UK’s Data Protection Act. The film treats CCTV images as ‘legal readymades’, and its scenario derives from the legal properties of the image.

Luksch studied Fine Arts in Austria (Akademie der bildenden Künste Wien) and Thailand (Chulalongkorn University Bangkok). She now lives and works in London with her partner and artistic collaborator Mukul Patel; and their son Indigo.

London-based arts production company Ambient Information Systems, conceives and produces interdisciplinary and collaborative projects, which explore the multitude of ways we now leave data-traces and are tracked through the city. Techniques and effects of live data broadcasting and transmission provide theme, medium, and performative space for many of the works.



a CCTV sci-fi fairy-tale by MANU LUKSCH

SYNOPSIS In a society under the reformed ‘Real-Time’ Calendar, without history nor future, everybody is faceless. A woman panics when she wakes up one day with a face. With the help of the Spectral Children she slowly finds out more about the lost power and history of the human face and begins the search for its future.

FACELESS was produced under the rules of the ‘Manifesto for CCTV Filmmakers’. The manifesto states, amongst other things, that additional cameras are not permitted at filming locations, as the omnipresent existing video surveillance (CCTV) is already in operation.

MAKING-OF: The film is an assemblage of recordings from existing CCTV surveillance cameras in London obtained under the terms of UK laws, including the Data Protection Act (1998). The process of accessing these images also activated other layers of legislation concerning the recordings, including Article 8 of the Human Rights Act (1998), the Freedom of Information Act (2000), and aspects of copyright and image rights. In Faceless, the CCTV image is treated as a Œlegal readymade¹. Plot development was an open process, in parallel with and parasitical upon the process of image acquisition. The UK Data Protection Act and EU directives give individuals the right to access personal data held in computer filing systems. This includes images captured by CCTV recording systems. For a nominal fee (£10), an individual can obtain a copy of this data: financial or medical records, or vide recordings. Other legislation states that the privacy of third parties must be protected. In CCTV recordings, this is done by erasing the faces of other people in the images – hence the ‘faceless’ world.

choreography: THE BALLET BOYZ
soundtrack: MUKUL piano music: RUPERT HUBER

Karolina Gumienna (Pl) “Made in China” (objects, 2008/2009)

In STAND-UP artists on February 20, 2009 at 2:54 am

Karolina Gumienna

Rocznik ’86. Absolwentka I Liceum Ogólnokształcącego im. A. Mickiewicza oraz Państwowej Szkoły Muzycznej I –go stopnia w klasie fortepianu w Stargardzie Szczecińskim. Studentka trzeciego roku grafiki projektowej na Wydziale Grafiki Akademii Sztuk Pięknych w Poznaniu. Obecnie przygotowuje dyplom w Pracowni Plakatu prof. Eugeniusza Skorwidera (pracownia kierunkowa) oraz w Pracowni Wydawnictw prof. Mirosława Pawłowskiego (pracownia dodatkowa). Członkini Niezależnego Zrzeszenia Studentów Akademii Sztuk Pięknych oraz Koła Naukowego Studentów Akademii Sztuk Pięknych w Poznaniu.

Made in China


Moja praca dotyka problemu łamania praw człowieka w Chinach. Powołuję się na fragmenty Powszechnej Deklaracji Praw Człowieka dotyczące prawa pracy, mając na uwadze często nieludzkie warunki, w jakich pracuje wielu mieszkańców tego państwa. Wykorzystuję opakowania na artykuły odzieżowe oraz dodatki, gdyż przemysł odzieżowy jest jedną z najbardziej popularnych gałęzi chińskiej gospodarki, której wyroby trafiają do naszych sklepów. Fragmenty PDPC przypominają o losie pracowników ogromnych fabryk, dzięki którym możemy zapełniać nasze szafy. Opakowania uświadamiają nam, że za każdym razem, gdy kupujemy odzież z metką „Made in China”, wyrażamy niemą akceptację wobec łamania fundamentalnych praw człowieka w Chinach. Projekt ma na celu przypisanie nowej funkcji opakowaniom, które stają się nośnikiem informacji lub nawet pewnych idei.

Heath Bunting (UK) „Map of terrorism” (presentation of the project, 2008),

In STAND-UP artists on February 20, 2009 at 2:48 am

Heath Bunting

was born a Buddhist in Wood Green,London, UK and is able to make himself laugh. He is a co-founder of both and sport-art movements and is banned for life from entering the USA for his anti GM work. His self taught and authentically independent work is direct and uncomplicated and has never been awarded a prize or been bought or sold. He is both Britain’s most important practising artist and The World’s most famous computer artist. He aspires to be a skillful member of the public and is producing an expert system for identity mutation.

A map of terrorism

Why make a map of terrorism ? It is unclear to many people exactly what terrorism is and which activities are now unsafe in the United Kingdom (UK) in terms of getting into trouble with the police.

Making a map is often a prelude to colonisation and control. I have recently been under investigation and detention by the UK police for terrorism related offences. This case was fabricated by the Sussex police force, probably an attempt to frighten and probe me. My response to this, instead of seeking public sympathy and support, was to consolidate my existing links with national cultural institutions. Hence my proposal to make this map of terrorism, in context of an invitation for a new commission for Tate. This strategy resulted in mestill being under state surveillance, but no longer facing Her Majesty’s (HM) detention.How to make a map of terrorism. My intention for this map was to find the borderline between ‘the everyday’, embodied by ‘the high street’ and the global terror fantastic.

If goods and services are extended to people globally, we can expect feedback in return. If these goods and services are marketed by force, as for example in Iraq, then we can expect a violent customer returns.

Important words to consider for mapping terrorism and the market are both reach and crossover. I have been thinking that perhaps our asymmetric reach has extended too far and that the crossover of unequal cultures has gone too deep.

Only the criminally ignorant can act surprised when second generation immigrants become upset when their adopted national state starts to illegally bomb their grandparents back home. Perhaps terrorism has always been a violent response to inappropriate intimacy, similar to bullying.

What a map of terrorism can tell us.This map is only a sketch, part of a long term project to map ‘the System’. What it shows me at this stage though, is that the border between ‘the High

Street’ and global terror runs through the Irish Troubles.Also, that the no man’s land of global terrorism is terrorism merchandise: Hamas t-shirts purchasable on-line (it is illegal to wear one of these in public), anarchist cookbook available at public libraries (recent events show that it is illegal to be in possession of one of these if Muslim). There also seems to be a fast-track route to full system integration, linked via ‘able to provide current postal address’: first step being an Her Majesty’s(HM) prisoner.

In my research into identity, it has become apparent that institutional integration comes first to those who challenge convention.heath-bunting

Heath Bunting

urodził się w buddyjskiej rodzinie w Wood Green, w Londynie i potrafi sam siebie rozśmieszyć. Jest współzałożycielem ruchów net-artowych oraz sport-artowych i ma dożywotni zakaz wjazdu do USA za działalność przeciwko genetycznemu modyfikowaniu żywności. Jest samoukiem, a jego autentycznie niezależne prace nie były ani nigdy nagradzane, ani kupowane, czy sprzedawane. Jest najważniejszym aktywnym artystą w Anglii, oraz najsławniejszym komputerowym artystą na świecie. Aspiruje do bycia utalentowanym członkiem społeczeństwa i opracowuje profesjonalny system do mutacji tożsamości.

Mapa terroryzmu

Po co robić mapę terroryzmu? Wiele osób nie wie czym dokładnie jest terroryzm i jaka forma działalności może być niebezpieczna w Wielkiej Brytanii i może prowadzić do problemów z policją.

Sporządzenie mapy poprzedza kolonizację i przejęcie kontroli. Niedawno byłem zatrzymany przez angielską policje w celu złożenia wyjaśnień w związku z zarzutami związanymi z działalnością terrorystyczną. Zarzuty były sfabrykowane przez policje w Sussex i najprawdopodobniej miały na celu mnie zastraszyć i poddać próbie. W odpowiedzi nie szukałem współczucia i wsparcia w społeczeństwie, ale skonsolidowałem moje istniejące już kontakty z instytucjami kultury narodowej. Stąd moja propozycja przygotowania mapy terroryzmu w odpowiedzi na zaproszenie galerii Tate. Zaowocowało to dalszym obserwowaniem przez państwo, ale już bez zatrzymywania przez Jej Królewską Mość. Jak się sporządza mapę terroryzmu? Moim celem było znalezienie granicy między codziennością określaną przez establishment, a światowym terroryzmem fanatyków.

Skoro towary i usługi są rozprowadzane na całym świecie, możemy się spodziewać reklamacji. Jeżeli te towary i usługi są rozprowadzane siłą, tak jak np. w Iraku, to musimy się liczyć się z agresywnymi reklamacjami.

Ważne pojęcia przy mapowaniu terroryzmu to zasięg i przenikanie się. Uważam, że asymetryczny zasięg kultur jest zbyt szeroki, a przenikanie się nierównych kultur jest zbyt głębokie.

Jedynie ignoranci mogą być zaskoczeni agresywną postawą drugiego pokolenia imigrantów wobec bombardowania ojczyzn ich dziadków przez państwo, które zaakceptowali jako swoje. Być może terroryzm od zawsze była agresywną odpowiedzią na niepożądaną formę zażyłości, podobną do znęcania się w szkole nad młodszymi.

Czego możemy się dowiedzieć z mapy terroryzmu? Ta mapa to jedynie szkic, część większego projektu – mapy Systemu. Na tym etapie mapa pokazuje, że granica między establishmentem, a światowym terroryzmem przebiega przez irlandzkie problemy. Z mapy dowiemy się także, że ziemią niczyją globalnego terroryzmu jest handel gadżetami terrorystycznymi – dostępne przez Internet koszulki Hamasu (noszenie publicznie jest nielegalne), anarchistyczne książki kucharskie dostępne w miejskich bibliotekach (ostatnie wydarzenia dowodzą, że posiadanie kopii przez muzułmanów jest nielegalne). Pojawia się również bardzo prosta droga do zwiększenia inwigilacji państwowej poprzez ‘obowiązek posiadania aktualnego adresu pocztowego’, a pierwszy krok – bycie więźniem Jej Królewskiej Mości.

Podczas mojego poszukiwania tożsamości, zrozumiałem, że instytucje inwigilują przede wszystkim tych, którzy rzucają wyzwania konwencjom.