An exhibition devoted to the role of indigenous peoples in the history of exploration can be seen in London these days. There is also a website containing many images, film clips and research materials from the Royal Geographical Society collections: www.rgs.org/hiddenhistories
15 October – 10 December 2009
Location: Royal Geographical Society (with IBG), Exhibition Road, London
Hidden Histories of Exploration reveals the contribution of people such as Juan Tepano, Mohammed Jen Jamain, Sidi Mubarak Bombay, Nain Singh and Pedro Caripoco to the history of exploration. Find out about their role and its lasting significance, as illustrated in the paintings, books, maps photographs, artefacts and manuscripts of the Royal Geographical Society (with IBG). Materials from Africa, Asia, the Arctic and the Americas are respresented, with highlights including paintings by Thomas Baines, Catherine Frere’s sketches of women on an African expedition, and film from the 1922 Everest expedition.
In the context of the exhibition ‘The Importancy of the unimportant’ (20 September – 30 November), at the Hudson Museum (Rotterdam, the Netherlands) we will find the work of the artist Aquil Copier. Oil, airbrush, photoprint and acrylic for painting (should we say mapping!?) landscapes. Enjoy!
Oil and airbrush on canvas (diptich). 200x150 cm. 2008
I started my first paintings of aerial views in 2003 when I was travelling very often by airplane between the south of Europe (Italy) and Holland. During my flights I was fascinated by the striking differences between the landscape views from my country and Italy. When you are travelling above Italy you see a very different landscape then in the Netherlands: this is of course because Holland is a flat land, and Italy has a great variety of altitudes (there are alps, mountains, hills, etc). When you see Italy from above, you do not have the perception of clear structures. You rather see plots of streets and countryside -urban and natural landscapes strangely intermingled. (Aquil Copier)
- Oil and airbrush on canvas. 30×30 cm. 2008
The exhibition took place a few years ago, but the cartographic examples developed by Newton and Helen Harrison are still inspiring.
“The Harrisons invoke both aspects of mapping, merging one into the other. The map becomes an aesthetic medium, like a painting, in which rivers, mountains, forests, plains, and areas of human habitation converge in abstract patterns that are nonetheless very familiar to us. The detail of line and brushstroke, of color and hue, is no more or less representative than that of any painting, but, as in the landscapes of Vuillard, again, it is representative of the multitudes of nature.”
The conference “Experimental Geography: An Aesthetic Investigation of Space” will take place on Saturday, March 21st, 3pm at the New Museum, New York. Sounds really interesting! Can anybody make it?
Experimental Geography: An Aesthetic Investigation of Space
Creative Time curator Nato Thompson will lead a discussion of Experimental Geography with Lize Mogel and Damon Rich, two artists who participated in his exhibition (for Independent Curators International) and book (Melville House) of the same name. The discussion will focus on the creative use of landscape hacking, cartography, locative media, and radical urbanism as a means of engaging with the politics of contested spaces. In presenting work from the show and book, the panelists will explore the distinctions between geographical study and artistic experience of the earth, and the juncture where the two realms collide.
More information here.
Here is an interesting example of how the interaction between art and cartography can become quite controversial. The sculpture of Czech artist David Cerny maps out the major stereotype associated to each European country. Looking at this succession of maps of clichés, the question remains: is it a subtle way of conveying multiple meanings in what may seem at first a bunch of very simplistic cliché maps? Or is it just a bunch of very simplistic cliché maps?
Thanks to Tracey Lauriault for pointing out this controversy.
Cities of the World -exhibition and book- shows the work of South African artist Titus Matiyane. Born in 1964, Matiyane is a sculptor, artist and musician who lives and works in Atteridgeville, a township near Pretoria, South Africa. He is one of many artists whose relationship to township life and the expanding urbanism of the modernist capitals of South Africa produced a particular fascination with both the growth and the transformation of these urban environments.
Matiyane makes drawings of cities and landscapes, and creates huge panorama drawings of cities and landscapes from a bird’s-eye view. The large-size panoramic landscape drawings are emblematic of his obsession with the built environment and modern cities. The wide format of his ’bird’s eye’ panoramas (6, 12, 24, 46 x 1.5 m) is intended to mesmerize and compel the viewer towards Matiyane’s personal sense of technical and visionary skill.
These colourful drawings overwhelm the viewers and take them on an extended journey through an urban landscape. The panoramas, which he has been making since 1990, give the impression that the artist has observed the cities from the air, while in fact he only flew for the first time in 1998.
An exhibition took place during 2007 and 2008 in many European cities. If missed it, you can always enjoy the book!
Edited by Annemieke de Kler.
Website of the editor: http://www.artsandafrica.com (under contruction)
The counter cartographies collective (or 3Cs) will host Community Cartographies Convergence and exhibition this fall. This will be a great opportunity to see the traveling exhibition An Atlas of Radical Cartography and to interact with some activists, artists and cartographers. The exhibit will take place at “The Triangle” in September and October 2008. The question is: where is “the Triangle”? You can ask firstname.lastname@example.org
If you plan to be in Cincinnati, OH (USA) this summer, you may want to stop by the Contemporary Arts Center (CAC) which curates an exhibit entitled: “Uncoordinated: Mapping Cartography in Contemporary Art.” Denis Wood was invitated to give a lecture in the context of this exhibit on June 9, 2008 (too late!). His ideas and persectives have definitely influenced this project as illustrated by the following statement from the web site of the CAC:
This exhibition addresses the subjective nature of mapping, how we locate ourselves in consideration of changing boundaries and territories, and how we give visual form to boundaries, territories and land masses. Artists in this exhibition confront the politics of naming of places, cartographic attacks on ethnic sensitivity, maps as evidence in boundary disputes, extension of terrestrial boundaries into nautical masses, and maps as scientific and political voice.
Thanks again to Tracey Lauriault for sharing this info.
Smell is slowly making its way to cartography, as illustrated by this installation by artists Jenny Marketou at the Esther M. Klein Art Gallery in Philadelphia (PA, USA):
“Smell It: A Do-It-Yourself Smell Map is an interactive visitor project created specifically for this exhibition. Visitors will be given a street map and then invited to walk around the neighborhood to record their olfactory experiences. Back in the gallery, viewers can add their odorous encounters to a wall-sized, collectively-drawn map to show the diversity of subjective responses to smell and the shifting of the neighborhood’s smellscape from one day to the next.
While smells are expected in the context of nature or in rural areas, to discover the olfactory in the midst of the concrete jungle is both a challenge and a thrill.”
Thanks to Tracey Lauriault (who has been doing a lot of work on smell and cartography) for sharing this info.
Nigel Thrift is “a great admirer of the intricately layered, flickering topographies of Julie Mehretu, the Ethiopian-American artist. Though one can see all kinds of echoes in her work – the historical push of Delacroix and Goya, the geometric swirls and abstractions of Kandinsky, Klee, Malevich and Mondrian, the enveloping wash of colour field painting, the various iconic and graphical moments that act as the frames of popular culture, such as brands and comic books and tattoos, the kinds of excerpt protest represented by practices as different as those of graffiti artists, propagandists and situationists, and the poetics of contemporary architects like Hadid or Ando – I think she also produces something new, a sense of what high-velocity hybrid landscapes made up of many kinds of actor and of plural events happening at many locations might look/feel/work like.” (Thrift 2006, 139)
The work of Julie Mehretu appears in many recent books on art and maps, and as pointed out by Tracey Lauriault, the Williams College Museum of Art currently exhibit her work ‘City Sitings’.