Sea Art Fastival 2023 Artist

Jacob Hurwitz-Goodman
USA
Place of activity

USA, LA

Text about the artist.

Jacob Hurwitz-Goodman is a filmmaker from Detroit and based in L.A. His eclectic, intimate work has won an Emmy Award, and awards at film festivals internationally. His films often explore the borderlands between politics, economics, tech paradigms, and subcultural characters. Over the years, he has partnered with a wide range of notable media and documentary production companies to produce films that have screened at the Athens Biennale, CPH:DOX, the DeYoung Museum, the Zeppelin Museum, Raindance, and ITVFest, as well as in museums, theaters, and festivals globally. Hurwitz-Goodman is the co-creator of the critically acclaimed Far Off Sounds, an immersive documentary web series about obscure, ecstatic musical experiences around the world.

Instagram
@h.g.jacob
Daniel Keller
USA
Place of activity

Germany, Berlin

Text about the artist.

Daniel Keller is an artist and writer working across different media. He focuses on the notions of technological disruption, the infrastructure of digital media, and the role of artists in a global networked economy. Keller is a co-founder of the media network Channel, a toolkit and platform that enables collective on-chain broadcasting, and New Models, a Berlin-based media node for art, politics, pop culture, and critical analysis of emergent online ecosystems. His work has been exhibited widely at the New Museum, the City Museum of Modern Art in Paris, Kunsthalle Wien, the Museum of Modern Art in Warsaw, the Fridericianum, and many other museums and galleries.

Instagram
@dnlklr
ARTWORK
<The Seasteaders>

2018, Single channel video, color, sound, 28min.

While our oceans already face a huge amount of stress from climate change, plastic pollution, oil spills and over fishing, how can proposals for sea floating dwellings be sustainable or non-threatening to marine ecosystems? Seasteading, the concept of creating dwellings floating at sea, colonizing oceans and bypassing territories controlled by governments, has been around for a long time. Floating structures anchored in international waters, beyond the "territorial sea" of any country, have included refitted oil platforms, modified cruise ships, or custom-built floating islands and structures to name a few. Jacob Hurwitz-Goodman and Daniel Keller’s film The Seasteaders documents the first Seasteading conference in Tahiti, talking with Seasteading evangelists like controversial author Joe Quirk and Seasteading Institute executive director Randolph Hencken to get firsthand accounts of the Seasteader’s beliefs and visions for an aquatic future. While much remains to be worked out, not least of all the fundamental problem of the place of “shesteaders,” the Seasteaders hope they can float on changing tides as they colonize the world’s waters. Founded in 2008 by former Google software engineer Patri Friedman with financial backing by PayPal founder Peter Thiel, the Seasteading Institute envisions a fluid world, where governments are selected in an open market and climate change can be “hacked.” Seeing rule by the majority as ineffective and oppressive, the Seasteaders propose a libertarian future of floating micro-governments, where user-citizens can detach and rejoin at will and law looks less like constitutions and more like software. To implement their plan for a nautical future, the Seasteaders have begun working with the government of French Polynesia to build the first floating islands in a special economic zone off the coast of Tahiti, after facing large-scale public opposition in Honduras. Seasteading evangelists, in a similar way to Silicon Valley techno solutionists, are presenting the society as a system that can be modified, managed or controlled. A group of entrepreneurs proposes to create new markets and worlds that fit their needs for a rules-free society. But while these initiatives present floating societies as solutions to housing needs, environmental challenges or a way to escape badly governed nations, how can we know for sure that these sea structures are more than tax avoidance bubbles or extravagant retreats for the rich?

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포레스트 커리큘럼은 남아시아와 동남아시아를 잇는 삼림지대 조미아의 자연문화를 통한 인류세 비평을 주로 연구합니다. 작품 유랑하는 베스티아리는 이 연구의 일환으로, 비인간적 존재들이 근대 국민국가에 내재된 계급적이고 세습적인 폭력과 그에 따른 잔재들에 어떻게 대항해왔는지를 보여주는 작품입니다. 좌중을 압도하는 듯한 거대한 깃발들은 위태롭고도 불안하게 스스로를 지탱하고 있는 듯 보입니다. 깃발에는 벤조인이나 아편부터 동아시아 신화에 등장하는 동물들까지 비인간 존재들을 상징하는 대상들이 그려져 있습니다. 각 깃발들은 비인간적 존재들의 대표자로서 모두가 한데 결합되어 아상블라주 그 자체를 표상합니다. 또한 깃발들과 함께 설치된 사운드 작품은 방콕과 파주에서 채집된 고음역대의 풀벌레 소리, 인도네시아의 경주용 비둘기들의 소리, 지방정부 선거를 앞두고 재정 부패를 유지하기 위한 수단으로 쓰이는 불필요한 공사에서 발생하는 소음, 그리고 위의 소리들을 찾아가는데 사용된 질문들과 조건들을 읽어 내려가는 내레이션으로 이루어져 있습니다.

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