Advertisements

Archive

Uncategorized

Last April 16th, I gave a talk at the Academy of Fine Arts in Vienna, together with some of the other artists in the residency. I’m writing about some highlights for those who missed it.

I often talk about being part of the different worlds of art, science, and design, and when I was younger, I used to think deeply about their definitions. What was “art”? What was “science”? What was “design”? One can slide down a very long rabbit hole.

But nowadays, I find it more relevant to use all of these skills and knowledge to address environmental and social concerns of society.

I talked briefly about some of my projects in The Apocalypse Project. This year is its 5th year, hurray!

In the years of doing art about climate change, I sometimes see some art projects as a way to curb the disturbances that prevent systems from running smoothly.

I’ve also had lots of opportunities to think about making and distributing this thing we call “art”.Then I segued into why I was beginning a new body of work, Wild Science. It was because the discussions we have around sustainability have changed over the years. Since I started The Apocalypse Project, the world went from wondering what is climate change to fighting climate change denial to finally starting to address the broken systems that got us to where we are today.

Here in my residency in Vienna, there are two general things I have been doing. The first is finding artistic responses to historical knowledge in the context of our post-truth, filter bubbled era.

For example, looking at the Globe Museum, while it may seem old and stuffy, I find it to be extremely important especially since we live in a world where some people still believe the world is flat. I loved looking at the old globes—essentially old models of what we thought the world was like and thus, what our place in it was—and am thinking of the other arbitrary lines and divisions we have made.

Another thing I’ve been obsessing about in Vienna is their cake culture. I love cake, and there is cake in all the other places I’ve lived in, but here in Vienna they do cake very differently. From the well-trained servers to the logos that declare the confectioner to have baked for emperors past, it has become a symbol of something that no longer exists—the old dynasty—and still we consume it.

I’m currently looking at the power dynamics of cake. How does it go from an exclusively imperial institution to something that commoners and tourists can now partake in? There are 360,000 Sacher tortes that are made each year and 1/3 are shipped overseas. That’s a lot of demand for chocolate cake that is kinda dry.

I talked about what i think art can give—a set of alternative norms to counteract the present norms in society. I believe that art can change mindsets and behaviors if we can do it convincingly enough.

I ended with one of my favorite quotes: “Beware of artists. They mix with all classes of society and are therefore the most dangerous.” So my fellow artists, let’s go out there and be a menace.

Advertisements

The awesome staff of Science Gallery Dublin sent me these photos from the “In Case of Emergency” group exhibition, which features The Apocalypse Project’s An Olfactory Portrait of the Amazon Rainforest, an ongoing work about the past, present, and future scents of the Amazon, which I began thanks to the support of LABVERDE and the INPA National Institute of Amazonian Research n Manaus, Brazil.

The show runs until the 11th of February; last few days!

Images courtesy of Science Gallery Dublin. Thank you and happy anniversary, you guys!

In Case of Emergency installation view

In Case of Emergency launch

An Olfactory Portrait of the Amazon Rainforest

interacting with Amazonian scents!

One of the scourges of the modern city are fatbergs. You know what I’m talking about. Or wait, maybe you don’t (which is why I did this project). The big blobs of coagulated fats, oils, and toiletries that get stuck in the sewers, making urban flooding even worse. In a congested city like Manila that already experiences super typhoons caused by climate change, this means that a few minutes of rain translates into a few inches of water on the streets. If you’re unlucky enough to be out of the house when this happens—and if you’re commuting—it turns into a nightmare.

This was the situation I found myself in one day as I was stuck in the rain in Manila. No taxi will take you (well, a few did, then promptly threw me out as the rainwater level went from foot to ankle deep), so I was left with one of the last options—a pedicab (a tricycle or a tuktuk in other countries). And as I sat inside, cold and miserable with the pedaling driver talking about charging me three times the price and my rage further heated up by global warming, the water rushed into the pedicab and I, hugging my knees in a fetal position, vowed to turn this into a project.

People keep wondering about where I get my ideas for The Apocalypse Project and I tell them simply that on many days, I’ve already lived it.

Several months later, I finally have results whose journey transcended continents. In my not-so-recent residency in Medellin, Colombia, I was determined to scratch this creative itch and thankfully, a few phone calls later thanks to the Platohedro staff and boom, an engineer from Medellin’s EPM (the company that manages their sewers, or, ahem, alcantarillas) actually came over to the house and a few minutes later, I was looking into the sewers of Medellin.

sewersoaperiehemel

I learned a lot about sewage and how different it is depending on the district. We were near a coffee factory and the sewage smelled like really old drip coffee and looked like it, too.

sewersoaperiecoffee

Interestingly, we could take readings about the sewage. This is a device that is supposed to check toxicity based on the particulates in the liquid.

sewersoaperiedevice

Medellin doesn’t get flooded the way Manila does. One reason for the latter’s epic floods is the dumping of used cooking oil down the sewer systems. Eventually the liquid saponifies and clogs the city’s arteries. In Medellin, I learned that most people actually recycle the oil. Also, the population in Medellin isn’t as much as Manila’s.

img_0762

I also got to research the alternative sewers that people throw their waste in. In Medellin, that would be the Medellin River, which is so polluted you could smell it from a distance.

catherine_medellinriver

Back in Manila, it was interesting to compare the struggles of both cities. Manila and Medellin have similar histories and so it is fascinating to see their journeys to development. Medellin is a bit ahead of the game, winning the 2016 Lee Kuan Yew World City Prize and 2013 City of the Year Award, thanks to its urban planning.

As I navigated through the neighborhoods of old Manila and Malate, I interviewed the managers of fast food chains on how they disposed of the cooking oil used to deep fry their chickens and fries, I was expecting to see hand wringing of we-don’t-know and why-are-you-even-asking, but it turns out, there are procedures that they do to conform to legislation set by the Department of Natural Resources. Their used oils are picked up by licensed agencies and people who recycle it for several purposes.

And so I was left scratching my head. If these restaurants actually do dispose of their oils properly, who is responsible for all the clogging? One possibility is the smaller canteens that are unregulated, and another possibility are the households themselves. How do you dispose of the remaining 1 tablespoon of cooking oil in your frying pan, leftover peanut butter, or other fatty acids embedded in our lifestyles? Pouring it down the drain might seem simple and harmless, but imagine millions of citizens thinking the same thing.

The project became an investigation on the journey of oil—the palm oil that is made from palm forests and used in households and commercial kitchens and end up in sewers or recycled. I researched the most common brands of cooking oil (palm oil was normally used), collected used cooking oil, and got grease from open pipes that were common in Manila. A few dozen saponification experiments later, I had several bars of soap for three types: palm oil (which needed too much caustic soda to saponify that I am actually suspecting of how pure it is, but that’s another story for another project), used palm oil (collected from restaurants), and sewer grease.

sewersoaperietypes-029

If you ever think of coin this yourself, well, kids, get your tetanus shots ready and make sure you’re suited up properly. Working with used cooking oil was always a surprise. The most information I could get was what food the oil was used to fry. They always came out different, and even though I used the same molds, there were some instances when the soap actually rose out of them. There were also times when the soap didn’t look that great, because it was mixed with so many things, including water.

img_20160909_123932

Layers of different types of fat were in these soaps. There was something faintly geological about them, don’t you think?

img_20160909_124910

I boiled the sewage before turning them into soaps to kill as much bacteria and pathogens as possible. (I would still use gloves to handle these, though.) It’s both disappointing and fascinating to see them so normal-looking.

The Sewer Soaperie

The Sewer Soaperie

I also placed them in airtight engraved containers for the 1335Mabini exhibition.

The Sewer Soaperie

The Sewer Soaperie

It’s so great to get this off my chest, and I’m looking forward to continuing the project and looking at it from other perspectives.

Research for this project was made possible by a residency at Platohedro and Casa Tres Patios, with support from Arts Collaboratory and the Ministry of Culture of Colombia.

Thanks to Mr. Hemel Serna of EPM and his team for giving me administrative support in researching Medellin’s sewer systems.

Thanks to 1335Mabini for exhibition support.

Photos courtesy of Platohedro, Events by HD, 1335Mabini, and Catherine Sarah Young

Iconic photo of the first Earth Day (photo from Smithsonian Magazine)

Iconic photo of the first Earth Day (photo from Smithsonian Magazine)

The above is the most iconic photo of the first Earth Day. Held on April 22, 1970 in New York City, the first Earth Day manifested the emerging environmental consciousness of the US, largely due to the publication of Rachel Carson’s Silent Spring in 1962. On April 22, 20 million people marched to demonstrate for a sustainable environment. Currently, Earth Day is celebrated in more than 190 countries.

A black-and-white photograph of a man wearing a vintage gas mask and stretching his neck to smell some flowers became iconic of this day. The photographer is unknown; the credit simply read “Associated Press”, and AP identifies the person as a freelancer. In August 2010, Smithsonian Magazine reported his name as Peter Hallerman, then a sophomore at Pace College. Hallerman recalled that he was one of the 30 Pace students who held a demonstration in a park near City Hall. Hallerman wore a gas mask that he once belonged to his mother, Edith, who worked with Red Cross during World War II. The AP photographer told Hallerman to smell the flowers of a magnolia tree with his mask on.

EarthDayRecreation

This historic photograph is still relevant as we reflect on Anthropogenic climate change, and I used it as inspiration. After recreating the original photograph, I expanded it to reflect my current location. Medellin, Colombia is a city of rich history and culture. Once a hotbed of violence, it has emerged over the years as a city of innovation and urban design—a city of “cool”. Among other things, Medellin is known for winning the 2016 Lee Kuan Yew World City Prize and 2013 City of the Year Award, as well as emblematic and permissive graffiti culture, though it hasn’t completely shaken off its violent past. The photographs were taken near the Museo Casa de la Memoria, a museum dedicated to victims of armed conflict in Medellin. The city also faces environmental challenges as it works to modernize itself and in the context of the Anthropocene. These photographs are meant to reflect the city’s character, culture, and contradictions as it projects its identity into the future.

IMG_2261small

Title of Work: Earth Days

Deepest thanks to Platohedro and Casa Tres Patios, where I did a residency supported by Arts Collaboratory and the Ministry of Culture of Colombia.

The Apocalypse Project: House of Futures opens soon in Future Gallery of the Institute for the Future in Palo Alto, California. This seven-month exhibition explores our environmental futures under climate change through the lens of high fashion. I’m deeply grateful for the support of IFTF, swissnex San Francisco, the Consulate General of Switzerland in San Francisco, ETH Zürich, Singapore-ETH Zürich Future Cities Laboratory, and University of Applied Sciences and Arts, Northwestern Switzerland.

The Apocalypse Project: House of Futures

The Apocalypse Project: House of Futures

We have three events this September. Check them out and register now!

September 18, Friday, 6:30PM-10:00PM at swissnex San Francisco. Climate Change Couture: Fashion for a Hotter Planet. Get a taste of the exhibition by watching a Climate Change Couture fashion show and DJ/VJ performance plus talks from the artists involved. (Tickets at $10. More here.)

September 21, Monday, 6:30PM:10:00PM at Future Gallery, IFTF. The Apocalypse Project House of Futures Grand Opening Reception. See the exhibition plus celebrate with a Future Feast! (Free! Register here.)

September 22, Tuesday, 9:00AM-8:00PM at Future Gallery, IFTF. The Apocalypse Project: Future Now. Join us at Institute for the Future for the inaugural Future Now, an all-day event of futures thinking. (Free! Register here.)

I’m also even more excited to have old and new friends being part of this exhibition. Stay tuned for more in the coming days!

 

Thank you, DJ Marie of NYC-based online radio station BreakThru Radio for interviewing me on her show, Sew and Tell, about The Apocalypse Project, particularly Climate Change Couture and The Ephemeral Marvels Perfume Store.

Here I talk about what led me to do The Apocalypse Project, from my roots in art, science, and interaction design, to my research in South Korea and Singapore, how being a journalist in my past life helped me think of Climate Change Couture, and how this project has made me rethink my own fashion choices.

Screen Shot 2015-04-26 at 7.59.34 PM

Listen to the interview here. Thanks, DJ Marie!