The Yes Men

http://theyesmen.org

 

“On December 3, 2004, the twentieth anniversary of the Bhopal disaster, Andy Bichlbaum appeared on BBC Worldas “Jude Finisterra”,[12] a Dow Chemical spokesman.[13] Dow is the owner of Union Carbide, the company responsible for the chemical disaster in Bhopal, India on December 3, 1984. An estimated 3,800 people died immediately from the hazardous chemicals and thousands more were killed by the plume from the UCC plant during the next few days.[14] The Indian government reported that more than half a million people were exposed to the gas, leading to numerous early and late health defects.[15] The Bhopal Disaster became one of the worst chemical disasters in history and the name Bhopal became synonymous with industrial catastrophe.[16] Immediately after the disaster, UCC began attempts to dissociate itself from responsibility for the gas leak.[14] The Indian Supreme Court eventually mediated a settlement in which UCC accepted moral responsibility and agreed to pay $470 million to the Indian government to be distributed to claimants as a full and final settlement. The average amount to families of the dead was $2,200.[17]” – Wikipedia

 

The Yes Men (along with the Anti-Advertising Agency) claimed partial responsibility for a prank on November 12, 2008, where approximately 80,000 copies of a fake edition of the July 4, 2009 edition of The New York Times were handed out on the streets of New York and Los Angeles.  The fake edition shows their ideas for a better future with headlines such as Iraq War Ends and Nation Sets Its Sights on Building Sane Economy. They also created a fake website,http://www.nytimes-se.com/.

Supplement to Simone Browne reading- “The Art of Security” and “Conclusion”

Pamela Z Baggage Allowance (2011)

Baggage Allowance is a sonically and visually layered intermedia work developed by Pamela Z in three interconnected components– a solo multi-media performance, a gallery installation, and an interactive web portal – all with shared content and materials.

Through vocal performance with electronic processing, found text, and recorded interviews, multi-channel sound, interactive video, and sculptural objects, Baggage Allowance scans and inventories the belongings (and memories) we all cart around. The work explores the concept of baggage in its many senses – physical, intellectual, and emotional – baggage as impediment and baggage as treasure.

Drawing from Ms. Z’s extensive traveling and cartage experiences, text from found sources, and interviews with travelers who speak poetically about their memories of train travel and flying and their numerous baggage-related stories, the work features episodes that touch upon the ball-and-chain-ness of dragging one’s things all over the world.

The installation consists of multiple audio, video, and sculptural elements including a weeping steamer trunk, a mock X-ray machine that reveals secrets when bags pass through it, and a vintage suitcase inside of which lies a woman sleeping and worrying. The solo performance includes a series of vignettes and episodes relating to the cartage and attachment performed with live voice, electronic processing, and interactive video. All the versions of this work explore the concept of baggage in its many senses– physical, intellectual, and emotional – baggage as impediment and baggage as treasure.

The Performance

The Installation

The Web Portal:

http://www.pamelaz.com/BaggageAllowance/index.html

sourced from: http://www.pamelaz.com/baggageallowance.html


Evan Roth TSA Communication (Art in Airports) (2008)

TSA Communication is a project that alters the airport security experience, inviting the government to learn more about passengers than just the contents of their carry on bags. Messages are cut into thin 13″ x 10″ sheets of stainless steel designed to comfortably fit inside airline carry on baggage. During the x-ray screening process, the technology normally designed to view the contents of a traveler’s baggage is transformed into a communication tool for displaying messages aimed at airport security. The content of the plates varies from flight to flight, but includes “NOTHING TO SEE HERE”, an image of the American flag and the TSA’s (Transportation Security Agency’s) mission statement as listed on its website, “I AM THE FRONTLINE OF DEFENSE, DRAWING ON MY IMAGINATION TO CREATIVELY PROTECT AMERICA FROM HARM”.


Sourced from http://www.evan-roth.com/work/tsa-communication/ 


 

TERMINAL ZERO ONE
Digital Art Exhibition at Toronto Pearson International Airport
Terminal 1 – Level 3 Terrace, Departures Level 
July 1, 2007 – May 5, 2008

Terminal Zero One (T01) is a site-specific digital art exhibition of five projects exploring themes of contemporary air travel and the architecture of airports. Airports are networks, information is increasingly networked, the T01 exhibit examines people as data, motion as trajectories and the symbiosis of virtual and actual.

The public is invited to experience the projects via touch sensitive screens, SMS text messaging, a webcam and as a controlled 3D avatar navigating through a simulated terminal. Track real-time flight activity originating from Pearson International Airport through a live data stream. Reinterpret the familiar by manipulating universal airport symbols and flight information screens. Engage in dialogue about controversial issues of international security and human rights. T01 is a portal into digital artworks that reflect the technology, movement and connectivity of the contemporary international airport – a transitory space where notions of borders, time and place are temporarily suspended.


sourced from: http://www.year01.com/archive/terminal01/

Coco Fusco

all material sourced from http://cocofusco.com/ 

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Coco Fusco and Ricardo Dominguez, Dolores from 10h to 22h | 2001

Once upon a time in a not so faraway free trade zone at the northern edge of Mexico, a woman who cobbled machines together for a living as accused of trouble making at her job. Her boss locked her up in an office without food or water or a phone. He tried over and over to cajole her into signing a letter of resignation. He watched her to see if she would break down. She held out for twelve hours, and later she sued the company. Her boss told the judge that she was crazy and that it never happened. No one would claim to have seen her.

Dolores from 10h to 22h is based on a story that no one saw.

Dolores from 10h to 22h is a net.performance by Coco Fusco and Ricardo Dominguez that took place on November 22nd, 2001 from Kiasma, Helsinki’s Museum of Contemporary Art. It was also simultanously broadcast at the Art in Motion Festival in Los Angeles, the Galerie Kapelika in Ljubjlana and iNIVA in London.

link to video to download: dolores_web

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Observations of Predation in Humans: A Lecture by Dr. Zira, Animal Psychologist
Performance | 2013

When the chimp psychologist from Planet of the Apes travelled back in time to pay our civilization a visit, she charmed and terrified humans who sensed that her kind would soon overtake them. Try as humans did to destroy Zira, and thus engineer a different future for their race, they did not succeed in ridding themselves of her or any of her talking ape brethren, who return in endless sequels and remakes to this day.

Zira is an expert in human behavior. In Ape City she conducted experiments on human subjects and dissected their brains. Her civilization was designed to avoid the human forms of aggression that lead to calamities, and her behavioral studies were key to forging that split between those hominids who destroy each other and those who would not.

For this performance, Zira shares her observations of human predation with a lecture followed by a question and answer session.

Commissioned by The Studio Museum in Harlem for the Radical Presence exhibition’s visit to New York City. Premiered in December 2013.

For more information about Dr. Zira’s 2014 tour, please contact Coco Fusco.

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Coco Fusco, Room of One’s Own: Women and Power in the New America
Performance | 2006-2008

“Once upon a time, the great novelist Virginia Woolf wrote that women needed a modest income and privacy to express their creative genius. Woolf told us that every woman had to have a room of her own if she was going to show her strength.

Now, at the onset of the new millennium, American women finally have what they need to demonstrate their valor. The War on Terror has provided a great opportunity to the women of this country. Our nation has put its trust in our talents, and is providing the space and support we need to prove that we are powerful forces in the struggle for democracy.

The battle for freedom is being waged in rooms just like the ones Woolf spoke of. In these sanctorum of liberty around the world, American women are using their minds and their charms to conquer our enemies. American women in uniform are leading our nation’s effort to save the civilized world from the threat of terrorism. I know I am proud to be one of those women. And today, I am here to tell you how you can be one too.”

This performance is presented as a lecture about the expanding role of American women in the War on Terror.

video excerpt to download: room