A Spomenik [for Resolutions].

A Spomenik [for Resolutions]. 
For Dance with flARmingos as a part of the Queens International 2016, Kristin Lucas collaborates with 21 national and international artists to create 3D augmented reality works that are geolocated to different locations around the Queens Museum.

Drawing parallels between the phantom presence of augmented reality and equally intangible notions of “the future”, given the rapid progression of global technological and environmental changes, Lucas prompted each artist to create a virtual work envisioning the future of Land Art and land use. By using digital tools to envision physically improbable scenarios, the artists produce haunting new realities that provoke broader conversations about culture, social issues, climate change and environment.

Visitors can access the virtual sculptures via Layar, a free Augmented Reality camera app that can be downloaded onto any smartphone. Once the app is downloaded use the instructions on the map to locate each work in the museum and Flushing Meadows Corona Park!

Participating Artists: Morehshin Allahyari, Peter Baldes, Shamus Clisset, Ben Coonley, Eteam, Lily & Honglei Art Studio, Kristin Lucas, Rosa Menkman, Brenna Murphy, Eva Papamargariti, Will Pappenheimer, Tabita Rezaire, Alfredo Salazar-Caro, Rick Silva, Mark Skwarek, Jack Stenner, Thomas Storey, V5MT, Miyö Van Stenis, Giselle Zatonyl

My work for Dance with flARmingos: A Spomenik [for Resolutions].
Location: In between the ISO and the IEC, which are both located in Geneve. 

Geneva is a very special city in the world; it does only house the ISO (international Organisation for Standardisation), but also the IEC (International Electrotechnical Commission), which are two major players in the setting of International Standards.

International Standards make things work. They give "world-class specifications for products, services and systems, to ensure quality, safety and efficiency". They are instrumental in facilitating international trade and support innovation to “provide solutions to global challenges”. But Standards are more than just solutions that make things work; rooted within political, economical, technological and cultural backgrounds, they also involve compromises between different matters and actors.

These compromises and their inherently denied, alternative outcomes are often obfuscated or even forgotten. For example: when we speak about video, we refer to a four cornered moving image; we do not consider video with more or less corners (3, or 5, or 149++ corners), layers, timelines, or soundtracks. Color film and JPEG algorithms are racist. Fonts can only be implemented as monchrome typefaces, Ghosts can only communicate through analogue forms of noise and animals cannot own copyright.

Resolutions form a lens through which materialities are constituted. They resonate a tonality of functionality and inform material vernaculars. In short, resolutions inform both machine vision and human ways of perception. It is therefore of upmost important to realize that with every resolution, alternative implementations are unthought, forgotten or even lost and forever unseen. This Spomenik stands in for ghosts of resolutions, that would have given form to alternative futures passed.

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