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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Carbon Black
Anaïs Tondeur in collaboration with Rita van Dingenen, Jean-Philippe Putaud – Joint Research Center, European Commission
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Despite the absence of industry, the inhabitants of the Fair Isle suffer from suffocation. When Anaïs Tondeur reached the island, she sent her geographic coordinates to climate modellers Rita van Dingenen and Jean-Philippe Putaud (JRC, European Commission) who retraced the itinerary of the particulate matters she encountered.
By means of atmospheric backward trajectory models and the analyses of anthropogenic emission of air pollutants, they could define the site of emission of the particles. This abstract trajectory line led the artist to an 837-mile expedition by foot, ferry, fishing boat and car, unravelling the journey of anthropic meteors.
She crystallized each day in a photograph of the sky as well as filtering black carbon particles she encountered through breathing masks. The particles were later extracted by scientist J.P Putaud and turned into ink. In fact, black carbon is a collateral form of soot, used for centuries as the primary component of Indian ink. The photographs are thus printed with some ink composed from the particles captured in the sky where they were shot.
In the words of art historian Estelle Zhong Mengual, Anaïs Tondeur restores the sky as an agent, carrying a power of action, whose new ontological consistency is translated by their sensitive materiality. The sky is no longer an element of decoration in our lives, it is the new given of our new environment. Some would no doubt see it as a new incarnation of the sublime proper to our time–except that these skies are not foreign to us. They no longer stand in this exteriority, in this distance, in this indifference which made it possible to feel a sense of comfortably mingled fascination and terror. These skies, created by humans, incorporated by them, and actors of their destiny can no longer be sublime–the sublime no longer holds. With these images of a new kind, this project forces us out of indifference and rushes us into a world where air is rarefied: our world.
Links: http://www.anais-tondeur.com/main/black-carbon/
By means of atmospheric backward trajectory models and the analyses of anthropogenic emission of air pollutants, they could define the site of emission of the particles. This abstract trajectory line led the artist to an 837-mile expedition by foot, ferry, fishing boat and car, unravelling the journey of anthropic meteors.
She crystallized each day in a photograph of the sky as well as filtering black carbon particles she encountered through breathing masks. The particles were later extracted by scientist J.P Putaud and turned into ink. In fact, black carbon is a collateral form of soot, used for centuries as the primary component of Indian ink. The photographs are thus printed with some ink composed from the particles captured in the sky where they were shot.
In the words of art historian Estelle Zhong Mengual, Anaïs Tondeur restores the sky as an agent, carrying a power of action, whose new ontological consistency is translated by their sensitive materiality. The sky is no longer an element of decoration in our lives, it is the new given of our new environment. Some would no doubt see it as a new incarnation of the sublime proper to our time–except that these skies are not foreign to us. They no longer stand in this exteriority, in this distance, in this indifference which made it possible to feel a sense of comfortably mingled fascination and terror. These skies, created by humans, incorporated by them, and actors of their destiny can no longer be sublime–the sublime no longer holds. With these images of a new kind, this project forces us out of indifference and rushes us into a world where air is rarefied: our world.
Links: http://www.anais-tondeur.com/main/black-carbon/
A collaboration with mathematicians and climate modellers: Rita van Dingenen, Jean-Philippe Putaud – Joint Research Center, European Commission, Ispra, Italy
Support received from:
The project was funded and developed as part of *Resonance II*, a project by Joint Research Center, European Commission.
Support received from:
The project was funded and developed as part of *Resonance II*, a project by Joint Research Center, European Commission.
Anaïs Tondeur (FR) is a visual artist. She works and lives in Paris. Her artistic practice forms at the point where disciplines meet. Crossing natural sciences and anthropology, myth making and new media processes, she creates speculative narratives and engages on investigations through which she experiments other conditions of being to the world. A graduate from the Royal College of Art (2010) and Central Saint Martin (2008), she has presented her work in institutions such as Centre Pompidou (Paris), Serpentine Galleries, GV Art Gallery (London), Bozar (Brussels), Spencer Museum of Modern Art (USA).