M - Antennae The Journal of Nature in Visual Culture

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likely to buy more than if they were restricted to a smaller, conventional trolley. Carts found in such a situation fall under A/11 False Group. What do you think Marcel Duchamp would have made with a shopping trolley? Maybe he would have just used it to move his other ready-mades around his studio. The original shopping trolley prototype derived from a folded chair, wire baskets and a wheel – conceptually ancient artifacts basic to human existence. Characters in a Don DeLillo book discuss the meaning of death while pushing shopping trolleys in supermarket aisles. Do you think the shopping cart today signifies a basic human need? I see the shopping cart as a site where all sorts of human desires, needs and impulses play out. The one that most fascinates me is the impulse towards vandalism. When I go to a new city to photograph carts, I look on the map and try to find shopping plazas that are near bodies of water; without fail I will find carts in the water. This seems to be the case wherever I go in the United States or Europe. It may be that there is some very basic pleasure to be had in throwing things into water and making a splash. I imagine that Cro-Magnons enjoyed throwing rocks into the water. On the other hand, one could see it as a nihilistic act, a kind of suicide by proxy. But that is probably a stretch. Julian Montague is an American artist who utilizes drawing, photography and other media to explore peripheral features of domestic and urban environments. He has exhibited widely in the Eastern United States at spaces that include; Art in General, Black & White Gallery, Hallwalls Contemporary Art Center, and Socrates Sculpture Park. His book, The Stray Shopping Carts of Eastern North America: A Guide to Field Identification, was published by Harry N. Abrams in 2006. His work can be found in the collections of The Albright- Knox Art Gallery, Martin Z. Margulies and The Progressive Insurance Company. Julian Montague is represented by Black & White Gallery in New York City. Julian Montague was interviewed by Antennae in Spring 2009 � Antennae 30 Julian Montague The Stray Shopping Carts of Eastern North America, a Guide to Field Identification, published in 2006 by Abrams Image
L ondon Fieldworks’ latest project, Super Kingdom, has been commissioned by Stour Valley Arts. It is a reference to both the utopian imaginary and biological taxonomic hierarchy and consists of a sculptural installation of animal ‘show homes’ in a woodland environment, based on the authoritarian architecture of despot’s palaces. It reflects on both human and animal hierarchy as territorial relationships to landscape; and it is informed by changing habitat, the displacement of animals as a consequence of urban development, and global concerns about fluid populations and porous borders. The project was initially inspired by reports of anomalous animal behaviour in nature as a response to shifting environmental cues, alluding to animals as bioindicators signaling environmental change. As an environment changes, so does animal or human experience of it. This results in altered behavior, often expressed as movement towards a condition more conducive to survival. Alongside climate induced animal movement we are interested in the current practices of re-wilding and assisted migration where animals are strategically relocated — redolent of human social engineering projects. Some conservationist biologists argue that the only way to save species threatened by extinction through habitat degradation may be to move them to new ranges they can’t get to themselves (Zimmer, 2009). This strategy of assisted migration or managed relocation is attracting widespread interest among scientists who are now investigating how they can pick new homes for endangered species and move them safely. The biologist Steven Willis has successfully relocated colonies of Marbled White butterflies to a wildlife reserve in Yorkshire, but even so, there is a fierce backlash from others in the conservationist biology community who refer to the policy as a game of “ecological roulette”. Unlike re-wilding a landscape with former indigenous animals, assisted migration attracts critics based on the unknowns of relocating a species to a place where it has never been native: a form of 31 SUPER KINGDOM London Fieldworks is a multidisciplinary initiative operating at the interface of art, science and technology. Here, they introduce their current project, Super Kingdom. Text by London Fieldworks invasion biology. Considered as an enclave, a demarcated and protected area of Outstanding Natural Beauty, King’s Wood is an environment surrounded by encroaching urban development within Kent, with its ports dubbed as ‘the gateways to Europe’. Desire for new housing and increased local infrastructure is pitted against fears that the Stour Valley will be ecologically damaged by the unprecedented growth planned for nearby Ashford. The environmental ramification of massive new development in the ecologically sensitive Thames Gateway is also a contentious and highly emotive issue. This tract of land in Kent therefore reflects a wider global concern around land use, the erosion of urban-rural boundaries and need of provision for a fluid population displaced by changing environment, economic imperative, political and ideological conflict. Currently there is speculation that, for the first time, the world’s urban population is about to outnumber its rural one. Globalisation has intensified the movement of human culture and demographics, thereby increasing the presence of urban characteristics in rural areas and rural traits in urban centres. (Davis, 2006) Kent is steeped in a history of migration and displacement. The beech trees in King’s Wood, where Super Kingdom has been built, are considered late arrivals to Britain. Around 10,000 years ago, after the last ice age, trees migrated to Britain by naturally self-seeding across the connecting land bridge that was eventually flooded by the melting ice sheet to form the English Channel. Silver birches arrived more rapidly due to their smaller, wind-dispersed seeds. A historical example of flora transfer could be the sweet chestnut trees prevalent in the wood, thought by many to be indigenous but probably first transported from the Mediterranean and Asia Minor by the Romans. The current resident population in Kent has come from many directions over the ages: Neolithic and Celtic from the east, Romans from the south, Jutes and Danes from the north, Saxons, Normans, aristocrats from the cities and refugees from Flanders. (Kent & Drew, 2005)
Page 1 and 2: Antennae Issue 10 - Summer 2009 ISS
Page 3 and 4: T his issue of Antennae is fully de
Page 5 and 6: ‘Y ou don’t need a Ph.D. in lin
Page 7 and 8: Simon Starling Kakteenhaus, 2002, V
Page 9 and 10: BEYOND CLASSIC FIELD BIOLOGY: BATRA
Page 11 and 12: Brandon Ballengée DFA 83, Karkinos
Page 13 and 14: empathy in viewers. The intention i
Page 15 and 16: Brandon Ballengée The Ever Changin
Page 17 and 18: investigations; for example, explor
Page 19 and 20: F ood production, energy consumptio
Page 21 and 22: W hat is a Translocal Curator? We u
Page 23 and 24: The feminist challenge to patriarch
Page 25 and 26: O ver the last several decades, the
Page 27 and 28: Julian Montague The Stray Shopping
Page 29: Julian Montague The Stray Shopping
Page 33 and 34: London Fieldworks Stalin Animal Sho
Page 35 and 36: and violence; keeping urban reality
Page 37 and 38: E ndangered Species began as a resp
Page 39 and 40: Todd Gilens Top images: Waiting at
Page 41 and 42: Todd Gilens Foldable Pelican Bus
Page 43 and 44: MAINTAINING A GREEN NEWS AGENDA Thi
Page 45 and 46: coverage shaped in this way appeare
Page 47 and 48: CAPE FAREWELL: THE ULTIMATE JOURNEY
Page 49 and 50: David Hinton Director David Hinton
Page 51 and 52: Nathan Gallagher Ryuichi Sakamoto o
Page 53 and 54: Patrick Huse Bølgende landskap, wa
Page 55 and 56: Which brings me back to what origin
Page 57 and 58: nature. The affirmation is one that
Page 59 and 60: Max Eastley Max Eastley recording s
Page 61 and 62: and leave land behind. This region
Page 63 and 64: Max Eastley Exposición CAPE FAREWE
Page 65 and 66: I t can be argued that culturally a
Page 67 and 68: Ana Mendieta Untitled, from the ser
Page 69 and 70: Ackroyd & Harvey FlyTower 2007, Nat
Page 71 and 72: Ackroyd & Harvey Green brick, green
Page 73 and 74: Ken Yonetani The Dead Sea, 2008, ce
Page 75 and 76: Mark Wilson and Bryndís Snæbjörn
Page 77 and 78: Georgina Reid For the Baby, In Ligh
Page 79 and 80: Art Orienté Objet have been creati
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Art Orienté Objet Bwiti Turning, 2
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and his environment emerges from th
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Art Orienté Objet The Happy Hen, 2
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M INE is a documentary film by Gera
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Geralyn Pezanoski Mine: Taken By Ka
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91 MAUSOLEUM The extraordinary bota
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Gregory Pryor Herbarium, Naturhisto
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Gregory Pryor Top Image: Black Sola
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Brandon Ballengée DFA 2, Héphaist
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M - Antennae The Journal of Nature in Visual Culture

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