21/09/2018 New Scientist Review
Review of Project Pressure’s exhibition When Records Melt in the New Scientist magazine.
“Visit the Rhône Glacier in southern Switzerland, and you are more than likely to wander past a small shop. It’s worth a visit: the owners have carved out an ice grotto, and charge tourists for the eerie and beautiful experience of exploring the inside of their glacier’s mass of blue ice.
Now, though, it’s melting. The grotto is such an important part of their livelihood, some years ago the owners invested 100,000 euros in a special thermal blanket. “It’s kept about 25 metres’ depth of ice from disappearing and has kept the grotto in business,” explains the photographer Simon Norfolk. But a few winters on the mountain have left the blanket in tatters.
“It’s the gesture that fascinates me,” says Norfolk. “There is something insane about trying to reverse the inevitable – a gesture as forlorn and doomed as the glacier itself.”
Norfolk and fellow photographer Klaus Thymann climbed up to the grotto just before dawn, armed with a light attached to a helium balloon that cast a sepulchral light over the scene. “I wanted to recreate the same light you get over a mortuary slab,” Norfolk says.
Emilia van Lynden, artistic director of Unseen Amsterdam, finds the effect as aesthetically chilling as it is beautiful. Of the whole series, called Shroud, she observes: “We’re seeing a glacier being wrapped and prepared for death.”
“There’s next to no photo-journalism here,” van Lynden explains. “None of the images here expect you to take them at face value. They expect you to pay attention and figure things out for yourself. These are works into which you need to invest a little bit of time and effort, to see what the artist is trying to tell you.” ”
12/09/2018 Unseen Amsterdam + Project Pressure
When Records Melt
A Photographic Exploration Of The Cryosphere
21-23 September 2018
The launch of Project Pressure’s travelling exhibition When Records Melt takes place at Unseen Amsterdam the 21-23 of September. The exhibition features international artists that focus on raising awareness through a variety of photographic interpretations, depicting issues surrounding the global environment in a new and inspiring context. These artists utilise the unique characteristics of photography to engage emotions in order to incite positive behavioural change.
Featured artists are: Michael Benson (DE), Adam Broomberg (ZA) & Oliver Chanarin (UK), Edward Burtynsky (CA), Peter Funch (DK), Noémie Goudal (FR), Simon Norfolk (NG), Christopher Parsons (UK) and Klaus Thymann (DK).
Friday: 11.00 – 21.00
Saturday: 11.00 – 20.00
Sunday: 11.00 – 17.00
Please visit unseenamsterdam.com for more practical information.
11/09/2018 Broomberg & Chanarin
Image: © Broomberg & Chanarin, Switzerland, 2016
Taking inspiration from Paul Auster’s tale of a mountain explorer found preserved in ice Adam Broomberg & Oliver Chanarin began to look at recovered objects that had been ‘rejected’ by receding glaciers. Exploring the notion of the glacier as a form of memory bank. The process was an ‘excavation of chance’: documenting preserved artefacts that have been revealed naturally as the glaciers diminish. Initial research has found that glacial archaeology is, in the wake of climate change, uncovering artefacts at an unprecedented rate. This is happening around the world but in the Swiss alps there are teams dedicated to excavating remains and documenting the archeological finds so it was a perfect place to commence this project.
“We treated the glaciers as an archive which as a result of global warming are suddenly revealing artefacts that have for millennia been perfectly preserved in the stable, frozen mass. The objects reveal remarkable and intimate details of individual lives lived long ago but they also speak about the end of the fucking world in the very near future.”
10/09/2018 Interview with Michael Benson
Image: The Antarctic Peninsula, 2018 © NASA Earth Observatory/Aqua/LAADS/Jessie Allen/Michael Benson
Interview with Michael Benson by Unseen Amsterdam.
“As a member of Project Pressure, Michael Benson’s work sits exquisitely at the intersection between art and science—on the frontier. As an artist, writer and film-maker, the last decade has seen Benson stage numerous large-scale shows of planetary landscape photography. In the lead-up to Unseen Amsterdam 2018, we spoke to Benson to get to the heart of what we can expect in two week’s time.
The exhibition presents two prints composed from planetary archives, can you explain how these works are made? How do you start making such an image and what is the process behind it?
In general, within my work, I take raw data from inter-planetary missions and I composite them to make colour images using different shots taken through different colour filters. These can then be stacked to make colour and then I use a mosaic technique to make wider field views. Really, what I’m doing is going into the raw data archives of inter-planetary missions, exploring within them and looking for extraordinary vistas. When it comes to the two earth images that will be exhibited at Unseen Amsterdam 2018, it was a somewhat different procedure. Each picture has its own unique challenges, it all depends on what the data is, it depends on if you have three colour filters, which can produce a true colour or a reasonably true colour image. So I don’t want to bore the listener with too much technical detail. The images are usually quite far from what the raw data looks like.
So, the works that are being showcased within When Records Melt are just a small chapter within the larger framework of your work, which is to look at the planets that are in orbit around the sun and the earth being one of those, but not only specifically focusing on that?
I’m making the case that the visual legacy of 50-60 years now of planetary exploration constitutes an important chapter in the history of photography, not ‘just’ of science. The only way to do that is to become a combination of curator and image processor, because the raw data is not something that you can just print and frame and put on the wall—it requires a lot of work—so I’m combining curatorship and a form of authorship. In other words, the raw data derives from Big Science, but then there is a détournement process.
How did you come to work on this?
Sheer fascination. In the late 90’s, NASA had sent a mission to Jupiter called Galileo that was orbiting Jupiter and sending amazing images of that planet’s moons back to earth. I was fascinated, and remain so, by what is being revealed about some of these places. My next project, Nancosmos, uses scanning electron microscopes to look at natural design at sub-millimeter scales. So I’m going to the opposite end of the size spectrum, effectively, and looking at what we are now capable of seeing using some of these technologies. I’m interested in that borderline, I’m interested in the frontier, in what we are discovering, and I approach it from the viewpoint of somebody in the arts—not a scientist. I am re-purposing the data and channeling it towards aesthetic ends—gallery and museum shows, and large-format illustrated books.
Do you believe in the power of bringing together truth-telling and mixing it with the aesthetic for it to be able to become more intriguing to the viewer?
It’s not pedagogical, not about educating the viewer so much as it’s focused on provoking the viewer. Andy Warhol had a series of prints—very beautiful from a distance; nice colours, a little bit pastel, seductive colours and so forth, but as you get closer, you realise that nestled within all those pastel colours is an electric chair. Suddenly you’re brought up short, thinking: “My God, this is an instrument used to put people to death, swathed in these colours”. And there’s something like that going on with some of these earth images. There’s so much beauty there but then you recognise what’s going on—as you get closer and understand what’s going on, you realise it is actually very disturbing. Because they contain clear evidence of the destruction our species is causing on this beautiful world—the third planet from the sun and the only habitable world we know.”
06/09/2018 Interview with Noémi Goudal
Image: Glacier 2—Cyclope, Glacier du Rhône, 2016 © Noémie Goudal
Interview with Noémi Goudal by Unseen Amsterdam.
“French artist and Project Pressure member Noémie Goudal travelled to Glacier du Rhône in Switzerland in 2016. Her installation, produced on location, mirrors the uncertain glacial landscape around the world. With two weeks to go until this year’s event, we spoke to Noémie to find out more.
Can you talk us through your project. What was your initial idea and how did you bring it into being?
My initial idea was to use a material to create my installation that I would photograph, to use a material that was moving in time, a material that could decompose throughout the installation as well as the process. I used paper that is called hydro-soluble paper—paper that disintegrates with water. I went to the glacier, I photographed it and I came back and printed the photograph on this special paper. I then hung the work in the space and re-photographed it, pouring water onto the paper in the process, so it was disintegrating slowly throughout the performance.
And was the pressure quite high to get it right the first time?
Definitely. We also had to choose a day where the wind wasn’t too bad in order to keep the paper stable enough. Moreover, if it was disintegrating too much, then it wouldn’t have worked in the landscape and if there was too much of a difference between the lights of the actual landscape and the photograph that I printed that could be an issue. So, there were many different factors that made it really, really difficult. But at the end of the day, it’s a whole journey, a whole exploration, a whole adventure for only one image at the end.
You’re work in the past has always played with the viewer’s perspective, inviting the audience to constantly question what they are actually looking at. Is it important for you, for the audience to know how you created this installation or is it more the larger questions the work brings up that is really what you’re trying to aim at?
No, I think it’s important that the viewer knows or at least tries to understand how it’s been created. So they understand the journey, they understand the whole process. That’s also the reason why I usually print them quite large—I think it’s going to be about three metres in the show—so hopefully the viewer can see all the details and the fragility of the installation. That’s really important to me; that those details are really shown and that the viewer can really understand the whole process. or me, it’s also about the protagonist—which the viewer can become themselves—they can see every element.
Has working on the glacier changed your own personal perception of how we are looking after our planet and what we should be doing to preserve these phenomenally beautiful glaciers?
Yes, because it’s such a strong, solid landscape when you look at it, and with the knowledge that it is disintegrating, that sense of fragility comes back into play. It’s a giant, and knowing that it’s melting more year after year feels very wrong.”