CCCA Canadian Art Database

Pat Badani

Pat Badani draws from the fields of art, science, and technology to explore the intersectionality of environmental and social justice issues. She experiments across media to create artistic arguments that blend aesthetics and criticism, charting connections between theories related to art as object, as medium, and art as critique of political and technological networks. Over the past 40 years she has exhibited broadly in museums and art centers, and in dedicated Art, Technology and Science platforms in North and South America, Europe, and Asia including ISEA, Transmediale, ELO, FILE, CURRENTS, and Balance-Unbalance, to name a few. Projects have been distinguished with awards from the Canada Council for the Arts; Illinois Arts Council; DCASE; National Endowment for the Arts Fellowship @ MacDowell, The Robert Heinecken Trust; and recognized with nominations by Creative Capital, Art Matters, and AWAW.
Creator Id: 38
Social Media Link: Social Media Link
Web Site Link: Web Site Link
Virtual Collection: Original CCCA
Country of Birth: Argentina
Year of Birth: 1951
City: Chicago
Country: United States
Type of Creator: Artist
Gender: Female
Mediums: earthwork, installation, painting, web
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Work by Pat Badani

Image-Object (detail 2 of 3)

Work ID: 2575

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 299.974 x 400.05 x 199.898 cm

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Image-Object

Work ID: 2573

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 299.974 x 400.05 x 199.898 cm

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Image-Object (detail 1 of 3)

Work ID: 2574

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 299.974 x 400.05 x 199.898 cm

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Image-Object (detail 3 of 3)

Work ID: 2576

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 299.974 x 400.05 x 199.898 cm

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As the Reflection of your Eye

Work ID: 2563

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 75.946 x 94.996 cm

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Wedding gift

Work ID: 2564

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 75.946 x 94.996 cm

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Wedding photo

Work ID: 2565

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 94.996 x 75.946 cm

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Utensil: Broom

Work ID: 2560

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 228.092 x 208.026 cm

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Daddy’s Gift

Work ID: 2556

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 228.092 x 208.026 cm

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Chair with Wheels

Work ID: 2557

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 228.092 x 208.026 cm

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So that I may eat you

Work ID: 2569

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 243.078 x 361.95 cm

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Future Text Panel (6)

Work ID: 2596

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 94.996 x 75.946 cm

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Made of fur, like the mirror

Work ID: 2568

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 243.078 x 208.026 cm

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Banana Republic

Work ID: 2559

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 228.092 x 208.026 cm

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Future Text Panel (8)

Work ID: 2598

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 94.996 x 75.946 cm

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Avant l’Amour/Après l’Amour

Work ID: 2558

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 177.038 x 169.926 cm

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Future Text Panel (5)

Work ID: 2595

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 94.996 x 75.946 cm

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Tied by desire

Work ID: 2571

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 228.092 x 551.942 cm

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Future Text Panel (3)

Work ID: 2593

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 94.996 x 75.946 cm

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Future Text Panel (4)

Work ID: 2594

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 94.996 x 75.946 cm

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Catch as Catch can

Work ID: 2567

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 139.954 x 199.898 cm

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Future Text Panel (1)

Work ID: 2591

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 94.996 x 75.946 cm

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Future Text Panel (2)

Work ID: 2592

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 94.996 x 75.946 cm

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SHHHHH!

Work ID: 2570

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 258.064 x 208.026 cm

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Future Text Panel (7)

Work ID: 2597

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 94.996 x 75.946 cm

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Utensil: Fork

Work ID: 2561

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 228.092 x 208.026 cm

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Second Place

Work ID: 2562

Description: Exhibited at the Museo universitario del Chopo, Mexico City, or in a touring exhibition to 8 major museums in Mexico.

Measurements: 228.092 x 208.026 cm

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Liquid Smell Ruins (view 3 of 3)

Work ID: 2554

Description: Exhibited at the Museo universitario del Chopo, Mexico City.

Measurements: 0.261 x 1.7052 m

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Liquid Smell Ruins (view 1 of 3)

Work ID: 2552

Description: Exhibited at the Museo universitario del Chopo, Mexico City.

Measurements: 0.261 x 1.7052 m

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Liquid Smell Ruins (view 2 of 3)

Work ID: 2555

Description: Exhibited at the Museo universitario del Chopo, Mexico City.

Measurements: 0.261 x 1.7052 m

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Carrots crues

Work ID: 2585

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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Venus’ triumph

Work ID: 2577

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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The problem of lack of space

Work ID: 2582

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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La grande bouffe

Work ID: 2578

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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Each object has a name

Work ID: 2583

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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Throwing the baggage overboard

Work ID: 2587

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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Feelings for Mars

Work ID: 2588

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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The ball game

Work ID: 2580

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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Feelings for Venus

Work ID: 2581

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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Michaela, Rafaela, Gabriela

Work ID: 2586

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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Vicious cycle

Work ID: 2584

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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Simultaneous narration

Work ID: 2579

Description: Exhibited at the Galeria Kahlo Coronel et Salon de los Aztecas, Mexico; Galerie Aubes, Montreal; and Art Conseil, Paris.

Measurements: 19.05 x 12.7 cm

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Heads 2

Work ID: 7772

Description: From the installation Head.

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Heads, (detail 2 of 2)

Work ID: 7771

Description: From the installation Head.

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Heads 2, (detail 1 of 2)

Work ID: 7773

Description: From the installation Head.

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Heads, (detail 1 of 2)

Work ID: 7770

Description: From the installation Head.

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Heads 2, (detail 2 of 2)

Work ID: 7774

Description: From the installation Head.

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Heads

Work ID: 7769

Description: From the installation Head.

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Lion Head

Work ID: 7776

Description: Sculptural element from the installation Head.

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Lion Head

Work ID: 7777

Description: Sculptural element from the installation Head.

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Crown

Work ID: 7778

Description: Sculptural element from the installation Head.

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Head Roll

Work ID: 7775

Description: Sculptural element from the installation Head.

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Helmet

Work ID: 7779

Description: Sculptural element from the installation Head.

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Révolution des particles, (detail)

Work ID: 7784

Description: Installation at the Maison de l'Amérique Latine, Paris, 1994.

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Révolution des particles, (detail)

Work ID: 7786

Description: Installation at the Maison de l'Amérique Latine, Paris, 1994.

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Révolution des particles, (detail)

Work ID: 7785

Description: Installation at the Maison de l'Amérique Latine, Paris, 1994.

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Révolution des particles, (detail)

Work ID: 7787

Description: Installation at the Maison de l'Amérique Latine, Paris, 1994.

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Maison de l’Amérique Latine, Paris

Work ID: 7780

Description: Location of the installation Révolution des particules, 1994.

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Révolution des particles, (installation view)

Work ID: 7781

Description: Installation at the Maison de l'Amérique latine, Paris, 1994.

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Révolution des particles, (detail)

Work ID: 7789

Description: Installation at the Maison de l'Amérique Latine, Paris, 1994.

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Révolution des particles, (detail)

Work ID: 7788

Description: Installation at the Maison de l'Amérique Latine, Paris, 1994.

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Révolution des particles, (detail)

Work ID: 7783

Description: Installation at the Maison de l'Amérique Latine, Paris, 1994.

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Révolution des particles, (detail)

Work ID: 7782

Description: Installation at the Maison de l'Amérique Latine, Paris, 1994.

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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2619

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2638

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2626

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2620

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73279

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2632

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73272

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73274

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73283

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2622

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2636

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2637

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73277

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73286

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73275

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2635

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2633

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2631

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73285

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73273

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2630

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2624

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73271

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2628

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2621

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2634

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73278

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2625

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73282

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73281

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2623

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73284

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 73276

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2629

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour – Borderlines Project with Snake (installation view)

Work ID: 2627

Description: The "Borderline" photographs were shown within documentary plates in the solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

Borderlines" is a project with Snake conducted in urban and non-urban spaces around the world. I took a malleable bread sculpture with me and I used it to delineate, separate or unify spaces. By hundreds small bread bowls baked in a Paris bakery were strung onto a rope forming an inert snake with movable joints. From mass, the sculpture became line, both separator and link for the Borderline project. I installed a fragment of the bread-cord in various urban and rural sites. I left it in place until its partial or total disappearance, a process documented through video and photography. These documents explore the notion of unstable boundaries and they composed the documentary plate titled "Borderlines" shown in the Tower-Tour exhibition.

This is a performative project produced in 1996-97 as a response to historical events, and takes into consideration a key date in twentieth century history, 1989. The European map has changed considerably since then, as have the geopolitical situation, cultural values and traditional notions of identity in the world at large. The piece reflects on memory and the passage of time; on movement and displacement; on disappearance and erasures, on shifting ground, and on foreignness.

Pat Badani


Excerpt from the exhibition catalogue Tower-Tour, page 8, by Catherine Bedard: "Snake is a malleable measuring rod, a rather intimate object that the artist manipulates according to her wishes in order to delimit the places she visits. Stretched out to its full length, Snake is irresistibly attracted towards the ground; it pulls itself vertically only when falling upon itself in a position of withdrawal. Made of the same dough as the towers, identical to them except that it cannot alone hold itself up, it represents their phantasmagorical counterpoint: Snake can do everything that eludes the tower, rigid symbol of power and domination whose sole vocation consists in holding itself erect as high as possible and whose fall, when it happens, produces a catastrophe."


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Tower-Tour Project (installation view)

Work ID: 2610

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


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Urban Projects

Work ID: 52398

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Urban Projects, Pat Badani develops a series of sculptural "constructions" in conjunction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker built sculptural forms with the "ideal" home in mind. The ephemeral constructions were documented photographically.

Measurements: 76.2 x 101.6 cm

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Urban Projects

Work ID: 52401

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Urban Projects, Pat Badani develops a series of sculptural "constructions" in conjunction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker built sculptural forms with the "ideal" home in mind. The ephemeral constructions were documented photographically.

Measurements: 76.2 x 101.6 cm

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Tower-Tour Project (installation view)

Work ID: 2603

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


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Tower-Tour Project (installation view)

Work ID: 2611

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


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Tower-Tour Project (installation view)

Work ID: 2613

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


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Tower-Tour Project (installation view)

Work ID: 2605

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

Date Made:

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Tower-Tour Project (installation view)

Work ID: 2609

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

Date Made:

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Tower-Tour Project (installation view)

Work ID: 2600

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

Date Made:

Materials:

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Tower-Tour Project (installation view)

Work ID: 2608

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

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Tower-Tour Project (installation view)

Work ID: 2612

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

Date Made:

Materials:

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Tower-Tour Project (installation view)

Work ID: 2599

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

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Materials:

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Tower-Tour Project (installation view)

Work ID: 2604

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

Date Made:

Materials:

Virtual Collection:

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Tower-Tour Project (installation view)

Work ID: 2601

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


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Tower-Tour Project (installation view)

Work ID: 2606

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

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Urban Projects

Work ID: 52400

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Urban Projects, Pat Badani develops a series of sculptural "constructions" in conjunction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker built sculptural forms with the "ideal" home in mind. The ephemeral constructions were documented photographically.

Measurements: 76.2 x 101.6 cm

Collection:

Date Made:

Materials:

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Tower-Tour Project (installation view)

Work ID: 2607

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

Date Made:

Materials:

Virtual Collection:

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Urban Projects

Work ID: 52402

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Urban Projects, Pat Badani develops a series of sculptural "constructions" in conjunction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker built sculptural forms with the "ideal" home in mind. The ephemeral constructions were documented photographically.

Measurements: 76.2 x 101.6 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Tower-Tour Project (installation view)

Work ID: 2602

Description: Solo exhibition at the Canadian Cultural Centre, Paris, France, May 16 to September 6, 1997.

"Miniaturized urban catastrophes, labyrinths on paper where the methodical construction of a fictional world takes on the aspect of a scientific project; heaps and accumulations proposing an order and its subversion - this is what Tower-Tour is composed of. The Canadian Cultural Center in Paris hosted the first presentation of this exhibition, a project that plays with our understanding of knowledge as well as with the limits between sculpture and installation, between mystical construction and event. With a life path that embraces the south of the Americas to Canada and to France where she now lives, Pat Badani puts her signature on an art-work where the meeting of multiple cultural conceptions gives way to the collective dream of building. Pat Badani kneads and assembles, piles, cuts, draws, photographs; she accumulates gestures as well as images. The elaboration is meticulous but the constructions that result are extremely fragile: constructions made of bread, documentary plates, and videos -- one of them showing the building of a city and its collapse, and the other its underground desertion or regeneration. Pat Badani borrows the architect's planimetric designs, note-taking and documentation of work-sites, the geologist's topographical drawings and the surveyor's methods of prospecting. Tower-Tour develops with ease around certain myths dealing with ruptured order and the immoderate (the snake who brought about the Fall; the Tower of Babel). It is an adventure that takes form in a construction that is as mentally vast as it is materially tenuous. If the project rightly constitutes an inquiry into the state of the world, the world it refers to has neither unity nor existence, belonging to both the past and the future, it exists as a Marquette, a project; it refers to towers of another age; it is alive by virtue of its organic matter yet dead because it is uninhabited." (Press Release for the exhibition).


Statement by the Artist:
I spent a number of years producing bowls cast in bread-dough and baked in a medieval oven at Poilâne Bakery in Paris, France. The bread-bowl became the core motif for numerous projects related to urban culture

In Tower-Tour I use a city built of bread-bowls to draw parallels between past and present transformations in social space. I exploit the material and the form in their anthropological and symbolic dimensions. The bread-bowl is a visual marker that acts as container and content; it refers back to the origin of agriculture and the first sedentary social formations. Bread as well as bowl-making signal the development of craftsmanship and the raising of cities. I use cities as theme in order to explore world-making. Some of my questions are: How many worlds are there? What are worlds made of? How are they made? The myth of The Tower of Babel and Jorge Luis Borges' "The Library of Babel" refer to worlds constructed in relation to knowledge. They have served to nourish my questionings.

The Tower-Tour installation comprises four bread-bowl constructions, two videos, and four long documentary plates. The documentary plates are composed of graphics organized in horizontal display units. These explore 4 different topographies (air, water, earth, and subterranean environments) through a multiplicity of self-generated documents: videos, photographs, drawings, collages and watercolors. These documents result form numerous performative projects spread out over 3 years. For the exhibition, I created a labyrinthine trajectory through the use of the gallery's modular walls, offering a circulation with several points of entry and exit.

Pat Badani


Collection:

Date Made:

Materials:

Virtual Collection:

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Urban Projects

Work ID: 52399

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Urban Projects, Pat Badani develops a series of sculptural "constructions" in conjunction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker built sculptural forms with the "ideal" home in mind. The ephemeral constructions were documented photographically.

Measurements: 76.2 x 101.6 cm

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Cultures & Ferments Project

Work ID: 52411

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 96.52 x 101.6 cm

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Cultures & Ferments Project

Work ID: 52403

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Urban Projects, Pat Badani develops a series of sculptural "constructions" in conjunction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker built sculptural forms with the "ideal" home in mind. The ephemeral constructions were documented photographically.

Measurements: 76.2 x 101.6 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Cultures & Ferments Project

Work ID: 52412

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 99.06 x 101.6 cm

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Cultures & Ferments Project

Work ID: 52405

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 81.28 x 101.6 cm

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Cultures & Ferments Project

Work ID: 52404

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 78.74 x 101.6 cm

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Cultures & Ferments Project

Work ID: 52407

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 86.36 x 101.6 cm

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Cultures & Ferments Project

Work ID: 52406

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 83.82 x 101.6 cm

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Date Made:

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Cultures & Ferments Project

Work ID: 52408

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 88.9 x 101.6 cm

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Cultures & Ferments Project

Work ID: 52409

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 91.44 x 101.6 cm

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Cultures & Ferments Project

Work ID: 52413

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 101.6 x 101.6 cm

Collection:

Date Made:

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Cultures & Ferments Project

Work ID: 52410

Description: Pat Badani spent three years producing bread-bowls with 5 Bakers at Poilane Bakery in Paris, France. The bread-bowls have been used in a number of ways in several projects between 1994 and 2001.

In Cultures & Ferments, Pat Badani maps the work-space of foreigners in the urban environment by producing a number of sculptural works in conjuction with Poilane's immigrant bakers from Spain, Portugal, Peru and Greece. Each baker "carved" slices out of sculptural forms, thereby transforming them. These gestures resonate by suggesting social space that immigrants carve out in a new homeland, through work. The photos document the "sliced forms".

The project brings to mind Julia Kristeva's claims: "Immigrants, hence workers. (...) The foreigner still considers work as a value. A vital necessity, to be sure, his sole means of survival, on which he does not necessarily place a halo of glory but simply claims as a primary right, the zero degree of dignity. (...) a universally tried and tested

Measurements: 93.98 x 101.6 cm

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Home Transfer

Work ID: 73269

Description: Home Transfer looks at the relationship between home, architecture and new technologies.

My works investigate multiple levels of containing space. I address elemental issues of contemporary life to reveal aspects of personal and social space. I am interested in exploring world making. I question how many worlds are there? What are worlds made of? How are they made? My works represent a continuum of my life experiences in different geographies and languages. The works are structured by a critical approach to notions of frontiers, fields and networks. I investigate these notions in both physical and virtual spaces.

In this context, Home Transfer explores changing notions about being @ home. Contemporary nomadism and its effect on memory, place and presence intersect with current practices in architecture and new technologies. A dwelling made of bread and its parasitic invasion is used to reveal the participant's psychological and physiological relationship to home. I establish dialogical, Host/Guest relations between architects and people online.

The site features streaming video of architects discussing a cultural paradigm where technology affects aspects of every-day life in new ways. Visitors may share thoughts in two guest-books provided for this purpose. The written entries reveal the relevance of contemporary practices on feeling at home. The aim is to build a space for speculation. The evolving discourse is essential in building the work's content.

Home Transfer is part of an ongoing cluster of works begun in 1994. In these works ("Housebroken", "Urban Projects", "Cultures & Ferments", "Tower-Tour"), baked bread-bowls serve various functions allowing me to explore social space. In these ongoing projects I create pathways of communication between people on-line and specialists in different fields of Art, Science and Humanities (Bakers, Doctors, Architects). A discussion is launched incorporating the public sphere through the Internet.

Pat Badani


Screened in the following venues:

Rhizome Art Base: January 9, 2000.
ISEA 2000, 10th International Symposium on Electronic Art: "Revelations". Forum des Images, Paris, France. December 7 to 10, 2000
MECAD Media Center: "NETaforas v.3". Barcelona, Spain. May 10 to June 8, 2001.
MEDI@TERRA_01: "De-Globalizing / Re-Globalizing". Micro-museum traveling in Greece, The Balkans and Germany, culminating in the International Book Fair in Frankfurt. September 16 to October 16, 2001.
Watershed Media Center: "Net_Working". Bristol, UK. November 20 to 29, 2001.
The Istanbul Contemporary Art Museum: "Reload", Istanbul, Turkey, 2002
Free Biennial: organized by Sal Randolph in New York City, and online, 2002.

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Home Transfer

Work ID: 73270

Description: Home Transfer looks at the relationship between home, architecture and new technologies.

My works investigate multiple levels of containing space. I address elemental issues of contemporary life to reveal aspects of personal and social space. I am interested in exploring world making. I question how many worlds are there? What are worlds made of? How are they made? My works represent a continuum of my life experiences in different geographies and languages. The works are structured by a critical approach to notions of frontiers, fields and networks. I investigate these notions in both physical and virtual spaces.

In this context, Home Transfer explores changing notions about being @ home. Contemporary nomadism and its effect on memory, place and presence intersect with current practices in architecture and new technologies. A dwelling made of bread and its parasitic invasion is used to reveal the participant's psychological and physiological relationship to home. I establish dialogical, Host/Guest relations between architects and people online.

The site features streaming video of architects discussing a cultural paradigm where technology affects aspects of every-day life in new ways. Visitors may share thoughts in two guest-books provided for this purpose. The written entries reveal the relevance of contemporary practices on feeling at home. The aim is to build a space for speculation. The evolving discourse is essential in building the work's content.

Home Transfer is part of an ongoing cluster of works begun in 1994. In these works ("Housebroken", "Urban Projects", "Cultures & Ferments", "Tower-Tour"), baked bread-bowls serve various functions allowing me to explore social space. In these ongoing projects I create pathways of communication between people on-line and specialists in different fields of Art, Science and Humanities (Bakers, Doctors, Architects). A discussion is launched incorporating the public sphere through the Internet.

Pat Badani


Screened in the following venues:

Rhizome Art Base: January 9, 2000.
ISEA 2000, 10th International Symposium on Electronic Art: "Revelations". Forum des Images, Paris, France. December 7 to 10, 2000
MECAD Media Center: "NETaforas v.3". Barcelona, Spain. May 10 to June 8, 2001.
MEDI@TERRA_01: "De-Globalizing / Re-Globalizing". Micro-museum traveling in Greece, The Balkans and Germany, culminating in the International Book Fair in Frankfurt. September 16 to October 16, 2001.
Watershed Media Center: "Net_Working". Bristol, UK. November 20 to 29, 2001.
The Istanbul Contemporary Art Museum: "Reload", Istanbul, Turkey, 2002
Free Biennial: organized by Sal Randolph in New York City, and online, 2002.

Collection:

Date Made:

Materials:

Virtual Collection:

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Home Transfer

Work ID: 52428

Description: Home Transfer looks at the relationship between home, architecture and new technologies.

My works investigate multiple levels of containing space. I address elemental issues of contemporary life to reveal aspects of personal and social space. I am interested in exploring world making. I question how many worlds are there? What are worlds made of? How are they made? My works represent a continuum of my life experiences in different geographies and languages. The works are structured by a critical approach to notions of frontiers, fields and networks. I investigate these notions in both physical and virtual spaces.

In this context, Home Transfer explores changing notions about being @ home. Contemporary nomadism and its effect on memory, place and presence intersect with current practices in architecture and new technologies. A dwelling made of bread and its parasitic invasion is used to reveal the participant's psychological and physiological relationship to home. I establish dialogical, Host/Guest relations between architects and people online.

The site features streaming video of architects discussing a cultural paradigm where technology affects aspects of every-day life in new ways. Visitors may share thoughts in two guest-books provided for this purpose. The written entries reveal the relevance of contemporary practices on feeling at home. The aim is to build a space for speculation. The evolving discourse is essential in building the work's content.

Home Transfer is part of an ongoing cluster of works begun in 1994. In these works ("Housebroken", "Urban Projects", "Cultures & Ferments", "Tower-Tour"), baked bread-bowls serve various functions allowing me to explore social space. In these ongoing projects I create pathways of communication between people on-line and specialists in different fields of Art, Science and Humanities (Bakers, Doctors, Architects). A discussion is launched incorporating the public sphere through the Internet.

Pat Badani


Screened in the following venues:

Rhizome Art Base: January 9, 2000.
ISEA 2000, 10th International Symposium on Electronic Art: "Revelations". Forum des Images, Paris, France. December 7 to 10, 2000
MECAD Media Center: "NETaforas v.3". Barcelona, Spain. May 10 to June 8, 2001.
MEDI@TERRA_01: "De-Globalizing / Re-Globalizing". Micro-museum traveling in Greece, The Balkans and Germany, culminating in the International Book Fair in Frankfurt. September 16 to October 16, 2001.
Watershed Media Center: "Net_Working". Bristol, UK. November 20 to 29, 2001.
The Istanbul Contemporary Art Museum: "Reload", Istanbul, Turkey, 2002
Free Biennial: organized by Sal Randolph in New York City, and online, 2002.

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Home Transfer

Work ID: 73268

Description: Home Transfer looks at the relationship between home, architecture and new technologies.

My works investigate multiple levels of containing space. I address elemental issues of contemporary life to reveal aspects of personal and social space. I am interested in exploring world making. I question how many worlds are there? What are worlds made of? How are they made? My works represent a continuum of my life experiences in different geographies and languages. The works are structured by a critical approach to notions of frontiers, fields and networks. I investigate these notions in both physical and virtual spaces.

In this context, Home Transfer explores changing notions about being @ home. Contemporary nomadism and its effect on memory, place and presence intersect with current practices in architecture and new technologies. A dwelling made of bread and its parasitic invasion is used to reveal the participant's psychological and physiological relationship to home. I establish dialogical, Host/Guest relations between architects and people online.

The site features streaming video of architects discussing a cultural paradigm where technology affects aspects of every-day life in new ways. Visitors may share thoughts in two guest-books provided for this purpose. The written entries reveal the relevance of contemporary practices on feeling at home. The aim is to build a space for speculation. The evolving discourse is essential in building the work's content.

Home Transfer is part of an ongoing cluster of works begun in 1994. In these works ("Housebroken", "Urban Projects", "Cultures & Ferments", "Tower-Tour"), baked bread-bowls serve various functions allowing me to explore social space. In these ongoing projects I create pathways of communication between people on-line and specialists in different fields of Art, Science and Humanities (Bakers, Doctors, Architects). A discussion is launched incorporating the public sphere through the Internet.

Pat Badani


Screened in the following venues:

Rhizome Art Base: January 9, 2000.
ISEA 2000, 10th International Symposium on Electronic Art: "Revelations". Forum des Images, Paris, France. December 7 to 10, 2000
MECAD Media Center: "NETaforas v.3". Barcelona, Spain. May 10 to June 8, 2001.
MEDI@TERRA_01: "De-Globalizing / Re-Globalizing". Micro-museum traveling in Greece, The Balkans and Germany, culminating in the International Book Fair in Frankfurt. September 16 to October 16, 2001.
Watershed Media Center: "Net_Working". Bristol, UK. November 20 to 29, 2001.
The Istanbul Contemporary Art Museum: "Reload", Istanbul, Turkey, 2002
Free Biennial: organized by Sal Randolph in New York City, and online, 2002.

Collection:

Date Made:

Materials:

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Home Transfer

Work ID: 73267

Description: Home Transfer looks at the relationship between home, architecture and new technologies.

My works investigate multiple levels of containing space. I address elemental issues of contemporary life to reveal aspects of personal and social space. I am interested in exploring world making. I question how many worlds are there? What are worlds made of? How are they made? My works represent a continuum of my life experiences in different geographies and languages. The works are structured by a critical approach to notions of frontiers, fields and networks. I investigate these notions in both physical and virtual spaces.

In this context, Home Transfer explores changing notions about being @ home. Contemporary nomadism and its effect on memory, place and presence intersect with current practices in architecture and new technologies. A dwelling made of bread and its parasitic invasion is used to reveal the participant's psychological and physiological relationship to home. I establish dialogical, Host/Guest relations between architects and people online.

The site features streaming video of architects discussing a cultural paradigm where technology affects aspects of every-day life in new ways. Visitors may share thoughts in two guest-books provided for this purpose. The written entries reveal the relevance of contemporary practices on feeling at home. The aim is to build a space for speculation. The evolving discourse is essential in building the work's content.

Home Transfer is part of an ongoing cluster of works begun in 1994. In these works ("Housebroken", "Urban Projects", "Cultures & Ferments", "Tower-Tour"), baked bread-bowls serve various functions allowing me to explore social space. In these ongoing projects I create pathways of communication between people on-line and specialists in different fields of Art, Science and Humanities (Bakers, Doctors, Architects). A discussion is launched incorporating the public sphere through the Internet.

Pat Badani


Screened in the following venues:

Rhizome Art Base: January 9, 2000.
ISEA 2000, 10th International Symposium on Electronic Art: "Revelations". Forum des Images, Paris, France. December 7 to 10, 2000
MECAD Media Center: "NETaforas v.3". Barcelona, Spain. May 10 to June 8, 2001.
MEDI@TERRA_01: "De-Globalizing / Re-Globalizing". Micro-museum traveling in Greece, The Balkans and Germany, culminating in the International Book Fair in Frankfurt. September 16 to October 16, 2001.
Watershed Media Center: "Net_Working". Bristol, UK. November 20 to 29, 2001.
The Istanbul Contemporary Art Museum: "Reload", Istanbul, Turkey, 2002
Free Biennial: organized by Sal Randolph in New York City, and online, 2002.

Collection:

Date Made:

Materials:

Virtual Collection:

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Where are you from?_Stories

Work ID: 73259

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

Virtual Collection:

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Where are you from?_Stories

Work ID: 73262

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

Where are you from?_Stories

Work ID: 73256

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

Where are you from?_Stories

Work ID: 73257

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

Where are you from?_Stories

Work ID: 73266

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

Where are you from?_Stories

Work ID: 73264

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

Where are you from?_Stories

Work ID: 73258

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

Where are you from?_Stories

Work ID: 73260

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

Where are you from?_Stories

Work ID: 52430

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

Where are you from?_Stories

Work ID: 52429

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

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Where are you from?_Stories

Work ID: 73261

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

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Where are you from?_Stories

Work ID: 73265

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

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Where are you from?_Stories

Work ID: 73263

Description: "Where are you from_Stories?" (Canada Council Media Art award 2002) is a temporal work inscribed at the crossroads between ethnographic practices, documentary photography and video, oral history, and interactive internet-based art forms. The multi-year project involved the organization of live international events held in public spaces during which participants contributed stories about home, displacement, and notions of a better life. In 2009, the work has had a 7-year trajectory through several world cities and culminates in a web-sited archive with 55 three-minute video clips (selected from 130) showcasing vernacular testimonies in three languages: English, French and Spanish. Visual anthropologist Flavia Caviezel comments: "Badani's project holds up a mirror to technologically mediated modes of communication today and to their impact on issues of identity." Caviezel further adds that the work reveals "complex relations between centers and peripheries, as well as between people and the places to which they belong".


"Where are you from_Stories?" involves an interactive 'digital database' of Video on Demand that follows the logic of immaterial memory systems pertaining to oral culture, as opposed to the linear, hierarchical structure of written records (such as historical and administrative archives.) The aim is to offer viewers open access to an eclectic collection of cross-cultural views that help construct new webs of signification about inhabitation in a globalized world.

I frame the project around my nomadic personal geography in six cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris.) With this project I seek to reveal dynamic, complex relationships between people and places. To this end, I create communicational spaces in carefully selected public urban locations where citizens-at-large share personal stories that integrate images of self and translocal experiences. I launch conversations with a simple question that everyone can relate to: "Where are you from?" I then involve participants in a discussion about where they come from and where they are going, presumably to seek a 'better life'.

Interviewees are from all walks of life and education level, and range from 20 to 85 years old. They fall into 5 main categories: immigrants, those who have left the country and returned, passersby, local migrants, and sedentary locals. Dialogue moves from the subjective to the collective around 4 questions: "Where are you from? - What / Where is home? What / Where is the better life? - What would you change to make life better?"

Pat Badani


Recipient of a 2002 Canada Council Media Arts Research Grant.

Screened and discussed in the following venues:
New Forms Festival '04, (Canada)
FILE'05, (Brazil)
[R] [R] [F]'05 , (Germany)
ISEA'09 , (Ireland)
Reviews: Art Papers & Afterimage, (2008)

Measurements: 55 streaming video clips: each one 2 minutes long

Collection:

Date Made:

Materials:

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Where life is Better

Work ID: 52416

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

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Where life is Better

Work ID: 52423

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

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Where life is Better

Work ID: 52419

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

Collection:

Date Made:

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Where life is Better

Work ID: 52420

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

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Where life is Better

Work ID: 52421

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

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Where life is Better

Work ID: 52414

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

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Where life is Better

Work ID: 52415

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

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Where life is Better

Work ID: 52418

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

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Where life is Better

Work ID: 52422

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

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Where life is Better

Work ID: 52417

Description: Multimedia solo exhibition at I space, the Chicago Gallery of the University of Illinois at Urbana Champaign, Illinois, USA.

"In the solo exhibition at I space, Where Life is Better, Pat Badani invites us to question "Where is life better?" Badani's oeuvre has long explored notions of place and belonging. A citizen of the world herself, her work is acutely involved in the process of setting these questions at play within multimedia installations that invite the public-at-large to experience and participate in her knowledge-building form of art. In the exhibition "Where life is better", we discover mutable texts and audio/video archives rich with first-person reflections. Comments on the notion of home made by over 300 individuals, culled through her Hometransfer.org website, are transcribed into an interactive book that invites visitors to further add personal observations on a graffiti wall of notes. We are also called upon to play with dwelling-shaped objects, transforming a series of wall-mounted sentences."
- (text from the exhibition catalogue, by Valerie Lamontagne)



Where Life is Better is the latest of 8 projects exploring material and immaterial environments in which we live: the home, the city, and virtual territories. These projects, produced since 1994, deal with the notion of place from various perspectives: lost place, the place regained, the projected ideal place (or merely better) and the search for it through displacement.

The multimedia installation at I space results from a recent experience. In 2002-03, I set off to trace my personal geography through 6 cities: Buenos Aires, Mexico City, Montreal, Toronto, Paris and Chicago. I videotaped conversations about a "better-life" with average individuals in each of these hybrid cities. The works at I space include a selection of voices from the people I encountered in this journey. These voices are juxtaposed to written testimonies on "feeling at home" that I have collected since 2000 from global passersby on the Internet. My works are a laboratory for me to filter personal experience, and build knowledge and understanding. Because I think communication is essential to knowledge, some of these projects also create discrete communicational spaces that allow citizens-at-large to become actively involved in the knowledge-building process through their participation. Bakers, medical doctors, architects, the average passer-by in city spaces and on the www, have become part of a collaborative process in which the meaning of the work is expanded through their gestures, texts and dialogue. The exhibition Where Life is Better at I space, likewise creates a discrete communicational space by means of several interrelated elements that explore notions about a better way of life. Visitors to the gallery interact with the works and participate in the production of meaning by expressing choices and opinions.
- (Text by Pat Badani)

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me & u

Work ID: 73313

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me & u

Work ID: 73315

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me & u

Work ID: 73312

Description: Installation at University Galleries, Illinois State University, Normal, Illinis, USA,
October 28 - December 14, 2005.

me & u is a screen-based installation of an avatar's animated gaze that reacts to the viewer's proximity. The project entailed concept research in the realm mood, empathy and aesthetics involving encounters with virtual persons; it is the result of digital image capture and manipulation, physical interaction design, software design, motion sensors and microcontrollers.

A catalogue of portraits projected onto a screen is dialogically defined by the visitorás position in space. Occupying different zones within the gallery will influence how the character gazes back, encouraging or discouraging the visitor from getting closer.

The piece involves choreography in space using motion sensors and software. New media, in addition to theories of proxemics and intersubjective non-verbal communication, are used to reference how observer and observed interact and are inextricably linked with each other in creating an emotional field.

Proxemics, a term coined by anthropologist Edward Hall in the 1960's, is the study of how spatial relationships and territorial boundaries directly influence our daily encounters. This spatial, non-verbal communication between bodies, handles distance in order to send messages during the course of our daily social interactions. Thus, individuals define their attitudes according to the special positions they adopt before others. Changing the distance between two people can convey a desire for intimacy, declare lack of interest or fear, and increase or decrease domination.

In addition, we also use our 'gaze' in order to maintain a measure of control over such space. This intersubjective spatial situation helps us see ourselves through the eyes of the other.

Pat Badani


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me & u

Work ID: 73311

Description: Installation at University Galleries, Illinois State University, Normal, Illinis, USA,
October 28 - December 14, 2005.

me & u is a screen-based installation of an avatar's animated gaze that reacts to the viewer's proximity. The project entailed concept research in the realm mood, empathy and aesthetics involving encounters with virtual persons; it is the result of digital image capture and manipulation, physical interaction design, software design, motion sensors and microcontrollers.

A catalogue of portraits projected onto a screen is dialogically defined by the visitorás position in space. Occupying different zones within the gallery will influence how the character gazes back, encouraging or discouraging the visitor from getting closer.

The piece involves choreography in space using motion sensors and software. New media, in addition to theories of proxemics and intersubjective non-verbal communication, are used to reference how observer and observed interact and are inextricably linked with each other in creating an emotional field.

Proxemics, a term coined by anthropologist Edward Hall in the 1960's, is the study of how spatial relationships and territorial boundaries directly influence our daily encounters. This spatial, non-verbal communication between bodies, handles distance in order to send messages during the course of our daily social interactions. Thus, individuals define their attitudes according to the special positions they adopt before others. Changing the distance between two people can convey a desire for intimacy, declare lack of interest or fear, and increase or decrease domination.

In addition, we also use our 'gaze' in order to maintain a measure of control over such space. This intersubjective spatial situation helps us see ourselves through the eyes of the other.

Pat Badani


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[in-time-time] (Tarble Arts Center)

Work ID: 73287

Description: Solo exhibition held at the Tarble Arts Center / Eastern Illinois University, Charleston, USA, January 19 to February 24, 2008. Commissioned work: commemorating the center's 25th anniversary). Color catalogue: introduction by Martin Patrick.

[in time time] creates a 'communicational space' in which I explore materials as social practice in addition to notions of representation, codes, conventions and mediations. The installation involves large digital prints and two new media works: a split-screen video titled [8-bits], and a context aware, interactive installation titled [ping-pong-flow]. The pieces are bound together by their related concerns: adult/child interactions, consciousness and reality, time and memory, and the relationship of sender and receiver in a communication channel; yet differentiated in their embodiment and in their speculative vantage points, specifically in the way that images and human experience converge. In [8-bits] viewers are enlisted as perceptual editors as they negotiate attention between alternating images, sound and text. In [ping-pong-flow], participants activate a responsive image, an avatar seemingly conscious of others. A circuitry of communication is created with the avatar and her ghosts, who react uncannily via a number of gestures to the movements of viewers around a simulated pit. The work was commissioned and funded by the Tarble Art Center Foundation (Charleston, Illinois - USA).

Pat Badani


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[in-time-time]

Work ID: 73290

Description: Solo exhibition held at the Tarble Arts Center / Eastern Illinois University, Charleston, USA, January 19 to February 24, 2008. Commissioned work: commemorating the center's 25th anniversary). Color catalogue: introduction by Martin Patrick.

[in time time] creates a 'communicational space' in which I explore materials as social practice in addition to notions of representation, codes, conventions and mediations. The installation involves large digital prints and two new media works: a split-screen video titled [8-bits], and a context aware, interactive installation titled [ping-pong-flow]. The pieces are bound together by their related concerns: adult/child interactions, consciousness and reality, time and memory, and the relationship of sender and receiver in a communication channel; yet differentiated in their embodiment and in their speculative vantage points, specifically in the way that images and human experience converge. In [8-bits] viewers are enlisted as perceptual editors as they negotiate attention between alternating images, sound and text. In [ping-pong-flow], participants activate a responsive image, an avatar seemingly conscious of others. A circuitry of communication is created with the avatar and her ghosts, who react uncannily via a number of gestures to the movements of viewers around a simulated pit. The work was commissioned and funded by the Tarble Art Center Foundation (Charleston, Illinois - USA).

Pat Badani


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[in-time-time]

Work ID: 73291

Description: Solo exhibition held at the Tarble Arts Center / Eastern Illinois University, Charleston, USA, January 19 to February 24, 2008. Commissioned work: commemorating the center's 25th anniversary). Color catalogue: introduction by Martin Patrick.

[in time time] creates a 'communicational space' in which I explore materials as social practice in addition to notions of representation, codes, conventions and mediations. The installation involves large digital prints and two new media works: a split-screen video titled [8-bits], and a context aware, interactive installation titled [ping-pong-flow]. The pieces are bound together by their related concerns: adult/child interactions, consciousness and reality, time and memory, and the relationship of sender and receiver in a communication channel; yet differentiated in their embodiment and in their speculative vantage points, specifically in the way that images and human experience converge. In [8-bits] viewers are enlisted as perceptual editors as they negotiate attention between alternating images, sound and text. In [ping-pong-flow], participants activate a responsive image, an avatar seemingly conscious of others. A circuitry of communication is created with the avatar and her ghosts, who react uncannily via a number of gestures to the movements of viewers around a simulated pit. The work was commissioned and funded by the Tarble Art Center Foundation (Charleston, Illinois - USA).

Pat Badani


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[in-time-time]

Work ID: 73288

Description: Solo exhibition held at the Tarble Arts Center / Eastern Illinois University, Charleston, USA, January 19 to February 24, 2008. Commissioned work: commemorating the center's 25th anniversary). Color catalogue: introduction by Martin Patrick.

[in time time] creates a 'communicational space' in which I explore materials as social practice in addition to notions of representation, codes, conventions and mediations. The installation involves large digital prints and two new media works: a split-screen video titled [8-bits], and a context aware, interactive installation titled [ping-pong-flow]. The pieces are bound together by their related concerns: adult/child interactions, consciousness and reality, time and memory, and the relationship of sender and receiver in a communication channel; yet differentiated in their embodiment and in their speculative vantage points, specifically in the way that images and human experience converge. In [8-bits] viewers are enlisted as perceptual editors as they negotiate attention between alternating images, sound and text. In [ping-pong-flow], participants activate a responsive image, an avatar seemingly conscious of others. A circuitry of communication is created with the avatar and her ghosts, who react uncannily via a number of gestures to the movements of viewers around a simulated pit. The work was commissioned and funded by the Tarble Art Center Foundation (Charleston, Illinois - USA).

Pat Badani


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[in-time-time]

Work ID: 73293

Description: Solo exhibition held at the Tarble Arts Center / Eastern Illinois University, Charleston, USA, January 19 to February 24, 2008. Commissioned work: commemorating the center's 25th anniversary). Color catalogue: introduction by Martin Patrick.

[in time time] creates a 'communicational space' in which I explore materials as social practice in addition to notions of representation, codes, conventions and mediations. The installation involves large digital prints and two new media works: a split-screen video titled [8-bits], and a context aware, interactive installation titled [ping-pong-flow]. The pieces are bound together by their related concerns: adult/child interactions, consciousness and reality, time and memory, and the relationship of sender and receiver in a communication channel; yet differentiated in their embodiment and in their speculative vantage points, specifically in the way that images and human experience converge. In [8-bits] viewers are enlisted as perceptual editors as they negotiate attention between alternating images, sound and text. In [ping-pong-flow], participants activate a responsive image, an avatar seemingly conscious of others. A circuitry of communication is created with the avatar and her ghosts, who react uncannily via a number of gestures to the movements of viewers around a simulated pit. The work was commissioned and funded by the Tarble Art Center Foundation (Charleston, Illinois - USA).

Pat Badani


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[in-time-time]

Work ID: 73292

Description: Solo exhibition held at the Tarble Arts Center / Eastern Illinois University, Charleston, USA, January 19 to February 24, 2008. Commissioned work: commemorating the center's 25th anniversary). Color catalogue: introduction by Martin Patrick.

[in time time] creates a 'communicational space' in which I explore materials as social practice in addition to notions of representation, codes, conventions and mediations. The installation involves large digital prints and two new media works: a split-screen video titled [8-bits], and a context aware, interactive installation titled [ping-pong-flow]. The pieces are bound together by their related concerns: adult/child interactions, consciousness and reality, time and memory, and the relationship of sender and receiver in a communication channel; yet differentiated in their embodiment and in their speculative vantage points, specifically in the way that images and human experience converge. In [8-bits] viewers are enlisted as perceptual editors as they negotiate attention between alternating images, sound and text. In [ping-pong-flow], participants activate a responsive image, an avatar seemingly conscious of others. A circuitry of communication is created with the avatar and her ghosts, who react uncannily via a number of gestures to the movements of viewers around a simulated pit. The work was commissioned and funded by the Tarble Art Center Foundation (Charleston, Illinois - USA).

Pat Badani


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[in-time-time]

Work ID: 73289

Description: Solo exhibition held at the Tarble Arts Center / Eastern Illinois University, Charleston, USA, January 19 to February 24, 2008. Commissioned work: commemorating the center's 25th anniversary). Color catalogue: introduction by Martin Patrick.

[in time time] creates a 'communicational space' in which I explore materials as social practice in addition to notions of representation, codes, conventions and mediations. The installation involves large digital prints and two new media works: a split-screen video titled [8-bits], and a context aware, interactive installation titled [ping-pong-flow]. The pieces are bound together by their related concerns: adult/child interactions, consciousness and reality, time and memory, and the relationship of sender and receiver in a communication channel; yet differentiated in their embodiment and in their speculative vantage points, specifically in the way that images and human experience converge. In [8-bits] viewers are enlisted as perceptual editors as they negotiate attention between alternating images, sound and text. In [ping-pong-flow], participants activate a responsive image, an avatar seemingly conscious of others. A circuitry of communication is created with the avatar and her ghosts, who react uncannily via a number of gestures to the movements of viewers around a simulated pit. The work was commissioned and funded by the Tarble Art Center Foundation (Charleston, Illinois - USA).

Pat Badani


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Extranjerías

Work ID: 73305

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Insomnia Cure

Work ID: 73310

Description: Exhibited at the Guggenheim Gallery, Chapman University, California, USA, October 19 to November 13, 2009 (Group exhibition titled: Because the night). Color catalogue: introduction by Sabina Ott.

Insomnia Cure is an interactive object (book) involving participation, ethnographic and documentary practices, photography, text, and product design. I used the building in which I live - a location where a given community sleeps within shared geographical boundaries (the confines of a 6-unit condominium in Chicago) to investigate the problem of insomnia. This circumscription provides an opportunity to sample and inspect a contemporary 'malaise' arguably induced by contemporary life-styles.

This project arose from my interest in exploring contemporary notions of a better life, but also from my relentless search for ways of getting to sleep and staying asleep without falling prey to the drug industry. I collect vernacular wisdom on the subject, and with this exercise in mind I asked my 6-unit condominium neighbors to participate in the project by contributing their recommendations. The 'Insomnia Cure Kit' contains 12 calming tips to relieve insomnia contributed by Gary, Stacia, Chris, Joanna, Skip, Niki, Erica, Alvin, Lakyia, Lamyia, Viola, and myself.

Pat Badani


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Extranjerías

Work ID: 73296

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Extranjerías

Work ID: 73294

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Insomnia Cure

Work ID: 73307

Description: Exhibited at the Guggenheim Gallery, Chapman University, California, USA, October 19 to November 13, 2009 (Group exhibition titled: Because the night). Color catalogue: introduction by Sabina Ott.

Insomnia Cure is an interactive object (book) involving participation, ethnographic and documentary practices, photography, text, and product design. I used the building in which I live - a location where a given community sleeps within shared geographical boundaries (the confines of a 6-unit condominium in Chicago) to investigate the problem of insomnia. This circumscription provides an opportunity to sample and inspect a contemporary 'malaise' arguably induced by contemporary life-styles.

This project arose from my interest in exploring contemporary notions of a better life, but also from my relentless search for ways of getting to sleep and staying asleep without falling prey to the drug industry. I collect vernacular wisdom on the subject, and with this exercise in mind I asked my 6-unit condominium neighbors to participate in the project by contributing their recommendations. The 'Insomnia Cure Kit' contains 12 calming tips to relieve insomnia contributed by Gary, Stacia, Chris, Joanna, Skip, Niki, Erica, Alvin, Lakyia, Lamyia, Viola, and myself.

Pat Badani


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Extranjerías

Work ID: 73300

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Insomnia Cure

Work ID: 73306

Description: Exhibited at the Guggenheim Gallery, Chapman University, California, USA, October 19 to November 13, 2009 (Group exhibition titled: Because the night). Color catalogue: introduction by Sabina Ott.

Insomnia Cure is an interactive object (book) involving participation, ethnographic and documentary practices, photography, text, and product design. I used the building in which I live - a location where a given community sleeps within shared geographical boundaries (the confines of a 6-unit condominium in Chicago) to investigate the problem of insomnia. This circumscription provides an opportunity to sample and inspect a contemporary 'malaise' arguably induced by contemporary life-styles.

This project arose from my interest in exploring contemporary notions of a better life, but also from my relentless search for ways of getting to sleep and staying asleep without falling prey to the drug industry. I collect vernacular wisdom on the subject, and with this exercise in mind I asked my 6-unit condominium neighbors to participate in the project by contributing their recommendations. The 'Insomnia Cure Kit' contains 12 calming tips to relieve insomnia contributed by Gary, Stacia, Chris, Joanna, Skip, Niki, Erica, Alvin, Lakyia, Lamyia, Viola, and myself.

Pat Badani


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Extranjerías

Work ID: 73303

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Extranjerías

Work ID: 73299

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Extranjerías

Work ID: 73295

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Extranjerías

Work ID: 73304

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Insomnia Cure

Work ID: 73309

Description: Exhibited at the Guggenheim Gallery, Chapman University, California, USA, October 19 to November 13, 2009 (Group exhibition titled: Because the night). Color catalogue: introduction by Sabina Ott.

Insomnia Cure is an interactive object (book) involving participation, ethnographic and documentary practices, photography, text, and product design. I used the building in which I live - a location where a given community sleeps within shared geographical boundaries (the confines of a 6-unit condominium in Chicago) to investigate the problem of insomnia. This circumscription provides an opportunity to sample and inspect a contemporary 'malaise' arguably induced by contemporary life-styles.

This project arose from my interest in exploring contemporary notions of a better life, but also from my relentless search for ways of getting to sleep and staying asleep without falling prey to the drug industry. I collect vernacular wisdom on the subject, and with this exercise in mind I asked my 6-unit condominium neighbors to participate in the project by contributing their recommendations. The 'Insomnia Cure Kit' contains 12 calming tips to relieve insomnia contributed by Gary, Stacia, Chris, Joanna, Skip, Niki, Erica, Alvin, Lakyia, Lamyia, Viola, and myself.

Pat Badani


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Extranjerías

Work ID: 73297

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Extranjerías

Work ID: 73298

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Extranjerías

Work ID: 73302

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


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Date Made:

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Extranjerías

Work ID: 73301

Description: Group exhibition held at: Espacio Fundación Telefónica, Buenos Aires, Argentina, July 8th - September 27, 2009. Color catalogue: introductions by Néstor Garcia Canclini & Andrea Giunta.

"Where are you from?" (Exhibited in the context of the group show titled: Extranjerías) is a complex project initiated in 2002. It integrates research, travels, context-specific events and documentary video, having as final result a vast web-based archive of video on demand. At Espacio Fundación Telefónica (in Buenos Aires, Argentina) I present a new iteration of the project that incorporates a selection of 12 videos of 3 minutes each: in Spanish, in English and in French (the last two sub-titled in Spanish); a book; and a wall with a printed vocabulary of 'keywords' extracted from the interviews. These three elements offer the visitors differentiated levels of access to the project. The interactive work is projected in large format within a cubicle created in the space of the gallery. This cubicle accommodates the visitor who sits at a 'desk' in order to interact with the work and to choose her own route through the hyperlinked connections, simulating an experience of travel through the content, and constructing narrative relations between the parts in an individualized way. The work was commissioned and funded by Espacio Fundación Telefónica. A color exhibition catalogue and introduction essays by curators Néstor Garcia Canclini and Andrea Giunta accompanies the exhibition.

The exhibition Extranjerías is the culmination of a 3-year investigation initiated by Espacio Fundación Telefónica (Buenos Aires), directed and coordinated by social anthropologist Néstor Garcia Canclini. The research project 'Foreigners in Technology and Culture' was developed throughout 2007 and 2008 via a series of encounters and colloquia in which local and international interdisciplinary specialists in the arts, sciences and humanities, participated in discussing the concept of foreignness as a way of understanding new processes and interrelations between art, culture and technology. This research resulted in a publication assembling the essays presented during the colloquia, as well as the 10-person exhibition and an exhibition catalogue.

Pat Badani


Collection:

Date Made:

Materials:

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Insomnia Cure

Work ID: 73308

Description: Exhibited at the Guggenheim Gallery, Chapman University, California, USA, October 19 to November 13, 2009 (Group exhibition titled: Because the night). Color catalogue: introduction by Sabina Ott.

Insomnia Cure is an interactive object (book) involving participation, ethnographic and documentary practices, photography, text, and product design. I used the building in which I live - a location where a given community sleeps within shared geographical boundaries (the confines of a 6-unit condominium in Chicago) to investigate the problem of insomnia. This circumscription provides an opportunity to sample and inspect a contemporary 'malaise' arguably induced by contemporary life-styles.

This project arose from my interest in exploring contemporary notions of a better life, but also from my relentless search for ways of getting to sleep and staying asleep without falling prey to the drug industry. I collect vernacular wisdom on the subject, and with this exercise in mind I asked my 6-unit condominium neighbors to participate in the project by contributing their recommendations. The 'Insomnia Cure Kit' contains 12 calming tips to relieve insomnia contributed by Gary, Stacia, Chris, Joanna, Skip, Niki, Erica, Alvin, Lakyia, Lamyia, Viola, and myself.

Pat Badani


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AL GRANO: Corn Regime

Work ID: 82570

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

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AL GRANO: Corn Regime

Work ID: 82568

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

Collection:

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AL GRANO: Corn Regime

Work ID: 82564

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

Collection:

Date Made:

Materials:

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AL GRANO: Corn Regime

Work ID: 82569

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

Collection:

Date Made:

Materials:

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AL GRANO: Corn Regime

Work ID: 82567

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

Collection:

Date Made:

Materials:

Virtual Collection:

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AL GRANO: Corn Regime

Work ID: 82565

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

Collection:

Date Made:

Materials:

Virtual Collection:

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AL GRANO: Corn Regime

Work ID: 82563

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

Collection:

Date Made:

Materials:

Virtual Collection:

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AL GRANO: Corn Regime

Work ID: 82566

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

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AL GRANO: Corn Regime

Work ID: 82572

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

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AL GRANO: Corn Regime

Work ID: 82571

Description: Documentary Short-film.

Al Grano: Corn Regime” addresses the livelihood struggles of maize growers in Mexico – center of origin, domestication and biodiversity of maize - and the balance/unbalance created by environmentally sustainable and exploitative agro-practices today. The documentary film showcases specialists who examine the politics of food and GM corn technology using as lens: maize cultivation, technology, and trade and border crossings at the intersection of ancient and contemporary sciences and technologies. In the film, social anthropologist Elisabeth Fitting argues that maize agriculture is seen as culture where unevenly shaped opinions and meanings are formed in engagement with wider economic and political structures.

Keywords:, Food, Food Safety, Sustainability, Economy, Trade, Maize, Indigenous peoples, Corn, Corporations, Biotechnology, Transnationalism, Mexico.

Year of production: 2011
Duration: 7mins 37secs

CREDITS:
Pat Badani: Director - producer - interviewer- camera operator - editor
Richard du Casse, Desiree Agngarayngay, Marina Badani: Video Technical Assistant

Interviewees:
- Elisabeth Fitting, Social Anthropologist, Dalhousie University, Halifax, NS, Canada. Author of “The Struggle for Maize: Campesinos, Workers, and Transgenic Corn in the Mexican Countryside”, Duke University Press (2011).
- Pat Mooney, Executive Director, ETC Group (Action Group on Erosion, Technology and Concentration) Ottawa, Canada.

Exhibition / Screenings - 2010 to 2013
- CeC - Carnival of e-Creativity Sattal, India (22-24 Feb 2013)
- ExTeresa Arte Actual, Mexico City, Mexico (18 & 19 October 2012)
- Fine Art Film Festival Szolnok, Hungary (11-14 October 2012)
- Budapest International Short-film Festival, Hungary (5-9 September 2012)
- Kansk International Video Festival, Moscow, Russia (17-25 August 2012)
- ISEA2011, Istanbul, Turkey (14-21 September 2011)


Measurements: 7 mins 37 secs duration

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Al GRANO: Crop-Cropping [Installation detail]

Work ID: 82583

Description: Detail of the installation showing a gallery visitor interacting with the work on an iPad; tapping and zooming through Maya glyphs representing words related to maize culture.

Exhibition venues:
CURRENTS New Media Festival 2016
Workshop 1-10, New Mexico
June 17 to July 2, 2016
Curated group show

BALANCE-UNBALANCE 2015
Art + Science +Technology / Environment & Responsibility
ASU Herberger Institute NIGHT GALLERY
March 20 to 29, 2015


AL GRANO: Framing Worlds” is a new media installation concerned with environmental, cultural, technological, political and historical formations related to maize, a contested grain considered both food and cultural symbol in Mexico, and source of macro profits for multinational agribusiness.

AL GRANO: Framing Worlds deploys a staging of fact and fiction where various registers of images, texts and objects, coexist. These digitally produced 2D and 3D pieces have as common element the manipulation of languages, histories and codes (the latter pointing to the underlying structure of genetic systems).

AL GRANO: Hack -- A re-codifi¬cation process accentuating the position of Mesoamerican indigenous communities is brought about in a series of graphics in the shape of Mayan Glyphs that showcase the 'front end' of digital images of GM corn whose ‘back end’ codes have been hacked with the infusion of texts from the seminal 1930’s Latin American novel “Men of Maize” written by Guatemalan Nobel prize winner Miguel Angel Asturias.

Al GRANO: Crop-Cropping -- This is an interactive piece with a pictographic interface bearing the same Maya glyphs used in the previous piece – but devoid of all color. Its austere black and white presentation showcases the back end hacked code that result in the lip smacking GM corn glitch images in “AL GRANO: Hack.” By tapping, swiping, pinching and zooming on the Maya glyphs, the user engages in a game of deciphering meaning through ASCII and hexadecimal computer languages mixed with texts in the western syllabic language. These texts, extracted from the novel Men of Maize, highlight the plight of indigenous Mayan people in defense of maize culture.

AL GRANO: Injection-Infection -- Focusing on food safety concerns and the deception of a better world behind bioproducts, this third installation piece is composed of 3D models extruded from polylactic acid, a corn-based resin. Encased in glass domes, the 3D prints show the structural formula of fructose, amylase, and polylactic acid (PLA), constituents produced by fermentation from raw cornstarch sourced in many cases from transgenic corn used in an inordinate number of processed bioproducts including foodstuffs in the USA. The very high demand for these products has required expansive agro-industrial production of bioengineered corn in the USA and across borders, and in 2001, local landraces in Mexico were contaminated due to in situ tests of GM corn cultivation conducted by multinational biotechnology corporations. The risks of reducing biodiversity associated with gene flow that infects and alters native maize varieties moreover negatively impacts indigenous populations in their ability to sustain their livelihood, their agriculture and their culture, hence repeating the decades-old story of exploitation told in the novel Men of Maize – a story persistently referenced in AL GRANO: Framing worlds.

Pat Badani

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AL GRANO: Hack [Detail of the installation, two of the glitch images]

Work ID: 82582

Description: ASU Herberger Institute NIGHT GALLERY, Tempe, Arizona, USA.

Exhibition venues:
CURRENTS New Media Festival 2016
Workshop 1-10, New Mexico
June 17 to July 2, 2016
Curated group show

BALANCE-UNBALANCE 2015
Art + Science +Technology / Environment & Responsibility
ASU Herberger Institute NIGHT GALLERY
March 20 to 29, 2015


AL GRANO: Framing Worlds” is a new media installation concerned with environmental, cultural, technological, political and historical formations related to maize, a contested grain considered both food and cultural symbol in Mexico, and source of macro profits for multinational agribusiness.

AL GRANO: Framing Worlds deploys a staging of fact and fiction where various registers of images, texts and objects, coexist. These digitally produced 2D and 3D pieces have as common element the manipulation of languages, histories and codes (the latter pointing to the underlying structure of genetic systems).

AL GRANO: Hack -- A re-codifi¬cation process accentuating the position of Mesoamerican indigenous communities is brought about in a series of graphics in the shape of Mayan Glyphs that showcase the 'front end' of digital images of GM corn whose ‘back end’ codes have been hacked with the infusion of texts from the seminal 1930’s Latin American novel “Men of Maize” written by Guatemalan Nobel prize winner Miguel Angel Asturias.

Al GRANO: Crop-Cropping -- This is an interactive piece with a pictographic interface bearing the same Maya glyphs used in the previous piece – but devoid of all color. Its austere black and white presentation showcases the back end hacked code that result in the lip smacking GM corn glitch images in “AL GRANO: Hack.” By tapping, swiping, pinching and zooming on the Maya glyphs, the user engages in a game of deciphering meaning through ASCII and hexadecimal computer languages mixed with texts in the western syllabic language. These texts, extracted from the novel Men of Maize, highlight the plight of indigenous Mayan people in defense of maize culture.

AL GRANO: Injection-Infection -- Focusing on food safety concerns and the deception of a better world behind bioproducts, this third installation piece is composed of 3D models extruded from polylactic acid, a corn-based resin. Encased in glass domes, the 3D prints show the structural formula of fructose, amylase, and polylactic acid (PLA), constituents produced by fermentation from raw cornstarch sourced in many cases from transgenic corn used in an inordinate number of processed bioproducts including foodstuffs in the USA. The very high demand for these products has required expansive agro-industrial production of bioengineered corn in the USA and across borders, and in 2001, local landraces in Mexico were contaminated due to in situ tests of GM corn cultivation conducted by multinational biotechnology corporations. The risks of reducing biodiversity associated with gene flow that infects and alters native maize varieties moreover negatively impacts indigenous populations in their ability to sustain their livelihood, their agriculture and their culture, hence repeating the decades-old story of exploitation told in the novel Men of Maize – a story persistently referenced in AL GRANO: Framing worlds.

Pat Badani

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AL GRANO: Formas de pensar Mundos

Work ID: 82573

Description: Solo exhibition at the Centro de Museos de la Universidad de Caldas, commissioned by the Festival de la Imagen 2014, in Manizales, Colombia.

Composed of 3 interwoven works “Al Grano: Formas de pensar mundos” is a gallery installation that focuses on the manipulation of codes - the underlying structure of genetic systems. Transgenic corn is seen as an explosive capsule with the capacity to divide communities and Nations, and yet the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. For me, a seed of transgenic corn represents an explosive capsule that on the one hand has the capacity to divide communities and Nations, and on the other hand the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. In sum, the seed encapsulates concentrated material rich enough to reflect on endangered worlds as well as new worlds in gestation. “Al Grano: Formas de pensar mundos” speak to these ideas.

Al Grano: Hack Based on the manipulation of digital codes - the underlying language of genetic systems - “Al Grano: Hack” is a series of electronically corrupted digital images of corn. In a gesture of symbolic resistance, I hacked the numeric code of genetically modified corn images and added information that was not previously there; texts that reference Latin American culture and accentuate the position of Mesoamerican indigenous populations in their rightful fight to sustain cultural and agricultural knowledge of vital importance for future generations world-wide. This gesture counteracts the practice by American multinational agricultural biotechnology corporations, who hack the genetic code of domesticated seed varieties to appropriate millennial indigenous knowledge for corporate profit.

Al Grano: injection-infection The piece is composed of three objects showing the structural chemical formula of fructose, amalyse, and polylactic acid (PLA), all derived from corn. A 3D printer, using PLA bioplastic, was used in production of the sculptural objects.

“Al Grano: injection-infection” addresses concern with large-scale production of transgenic corn by agricultural engineering industries for optimization of crop yield. The deception is that bio-products sourced from grown and harvested transgenic cropland, do not actually live up to the claim that they are beneficial, healthy and safe. Corn Fructose Syrup (HCFS), corn plastics (PLA), and corn-based ethanol (amalyse), are derived from genetically modified corn that causes a genetic and physiological imbalance in native maize varieties, disrupts local ecosystems, damages agricultural fields and also take away from local populations fields that could be used for food crops. (“Al Grano: injection-infection” was produced in collaboration with Chris Wille)

Al Grano: Lexis This piece is an inventory showing the nomenclature of spaces related to sustainable ways to grow and distribute food. They point to practices of resistance and reconstruction of the food system, to movements of conservation and care of ecosystems, to the development of sustainable communities, and to the recovery of traditional agricultural knowledge.

Pat Badani


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AL GRANO: Formas de pensar Mundos [Code (detail) pertaining to electronically corrupted digital images of corn]

Work ID: 82577

Description: Solo exhibition at the Centro de Museos de la Universidad de Caldas, commissioned by the Festival de la Imagen 2014, in Manizales, Colombia.

Composed of 3 interwoven works “Al Grano: Formas de pensar mundos” is a gallery installation that focuses on the manipulation of codes - the underlying structure of genetic systems. Transgenic corn is seen as an explosive capsule with the capacity to divide communities and Nations, and yet the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. For me, a seed of transgenic corn represents an explosive capsule that on the one hand has the capacity to divide communities and Nations, and on the other hand the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. In sum, the seed encapsulates concentrated material rich enough to reflect on endangered worlds as well as new worlds in gestation. “Al Grano: Formas de pensar mundos” speak to these ideas.

Al Grano: Hack Based on the manipulation of digital codes - the underlying language of genetic systems - “Al Grano: Hack” is a series of electronically corrupted digital images of corn. In a gesture of symbolic resistance, I hacked the numeric code of genetically modified corn images and added information that was not previously there; texts that reference Latin American culture and accentuate the position of Mesoamerican indigenous populations in their rightful fight to sustain cultural and agricultural knowledge of vital importance for future generations world-wide. This gesture counteracts the practice by American multinational agricultural biotechnology corporations, who hack the genetic code of domesticated seed varieties to appropriate millennial indigenous knowledge for corporate profit.

Al Grano: injection-infection The piece is composed of three objects showing the structural chemical formula of fructose, amalyse, and polylactic acid (PLA), all derived from corn. A 3D printer, using PLA bioplastic, was used in production of the sculptural objects.

“Al Grano: injection-infection” addresses concern with large-scale production of transgenic corn by agricultural engineering industries for optimization of crop yield. The deception is that bio-products sourced from grown and harvested transgenic cropland, do not actually live up to the claim that they are beneficial, healthy and safe. Corn Fructose Syrup (HCFS), corn plastics (PLA), and corn-based ethanol (amalyse), are derived from genetically modified corn that causes a genetic and physiological imbalance in native maize varieties, disrupts local ecosystems, damages agricultural fields and also take away from local populations fields that could be used for food crops. (“Al Grano: injection-infection” was produced in collaboration with Chris Wille)

Al Grano: Lexis This piece is an inventory showing the nomenclature of spaces related to sustainable ways to grow and distribute food. They point to practices of resistance and reconstruction of the food system, to movements of conservation and care of ecosystems, to the development of sustainable communities, and to the recovery of traditional agricultural knowledge.

Pat Badani


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AL GRANO: Formas de pensar Mundos [3 interrelated pieces: Al Grano: Hack, Al Grano: injection-infection, and Al Grano: Lexis]

Work ID: 82574

Description: Solo exhibition at the Centro de Museos de la Universidad de Caldas, commissioned by the Festival de la Imagen 2014, in Manizales, Colombia.

Composed of 3 interwoven works “Al Grano: Formas de pensar mundos” is a gallery installation that focuses on the manipulation of codes - the underlying structure of genetic systems. Transgenic corn is seen as an explosive capsule with the capacity to divide communities and Nations, and yet the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. For me, a seed of transgenic corn represents an explosive capsule that on the one hand has the capacity to divide communities and Nations, and on the other hand the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. In sum, the seed encapsulates concentrated material rich enough to reflect on endangered worlds as well as new worlds in gestation. “Al Grano: Formas de pensar mundos” speak to these ideas.

Al Grano: Hack Based on the manipulation of digital codes - the underlying language of genetic systems - “Al Grano: Hack” is a series of electronically corrupted digital images of corn. In a gesture of symbolic resistance, I hacked the numeric code of genetically modified corn images and added information that was not previously there; texts that reference Latin American culture and accentuate the position of Mesoamerican indigenous populations in their rightful fight to sustain cultural and agricultural knowledge of vital importance for future generations world-wide. This gesture counteracts the practice by American multinational agricultural biotechnology corporations, who hack the genetic code of domesticated seed varieties to appropriate millennial indigenous knowledge for corporate profit.

Al Grano: injection-infection The piece is composed of three objects showing the structural chemical formula of fructose, amalyse, and polylactic acid (PLA), all derived from corn. A 3D printer, using PLA bioplastic, was used in production of the sculptural objects.

“Al Grano: injection-infection” addresses concern with large-scale production of transgenic corn by agricultural engineering industries for optimization of crop yield. The deception is that bio-products sourced from grown and harvested transgenic cropland, do not actually live up to the claim that they are beneficial, healthy and safe. Corn Fructose Syrup (HCFS), corn plastics (PLA), and corn-based ethanol (amalyse), are derived from genetically modified corn that causes a genetic and physiological imbalance in native maize varieties, disrupts local ecosystems, damages agricultural fields and also take away from local populations fields that could be used for food crops. (“Al Grano: injection-infection” was produced in collaboration with Chris Wille)

Al Grano: Lexis This piece is an inventory showing the nomenclature of spaces related to sustainable ways to grow and distribute food. They point to practices of resistance and reconstruction of the food system, to movements of conservation and care of ecosystems, to the development of sustainable communities, and to the recovery of traditional agricultural knowledge.

Pat Badani


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AL GRANO: Framing Worlds

Work ID: 82580

Description: Curated by Balance-Unbalance 2014 team.

Exhibition venues:
CURRENTS New Media Festival 2016
Workshop 1-10, New Mexico
June 17 to July 2, 2016
Curated group show

BALANCE-UNBALANCE 2015
Art + Science +Technology / Environment & Responsibility
ASU Herberger Institute NIGHT GALLERY
March 20 to 29, 2015


AL GRANO: Framing Worlds” is a new media installation concerned with environmental, cultural, technological, political and historical formations related to maize, a contested grain considered both food and cultural symbol in Mexico, and source of macro profits for multinational agribusiness.

AL GRANO: Framing Worlds deploys a staging of fact and fiction where various registers of images, texts and objects, coexist. These digitally produced 2D and 3D pieces have as common element the manipulation of languages, histories and codes (the latter pointing to the underlying structure of genetic systems).

AL GRANO: Hack -- A re-codifi¬cation process accentuating the position of Mesoamerican indigenous communities is brought about in a series of graphics in the shape of Mayan Glyphs that showcase the 'front end' of digital images of GM corn whose ‘back end’ codes have been hacked with the infusion of texts from the seminal 1930’s Latin American novel “Men of Maize” written by Guatemalan Nobel prize winner Miguel Angel Asturias.

Al GRANO: Crop-Cropping -- This is an interactive piece with a pictographic interface bearing the same Maya glyphs used in the previous piece – but devoid of all color. Its austere black and white presentation showcases the back end hacked code that result in the lip smacking GM corn glitch images in “AL GRANO: Hack.” By tapping, swiping, pinching and zooming on the Maya glyphs, the user engages in a game of deciphering meaning through ASCII and hexadecimal computer languages mixed with texts in the western syllabic language. These texts, extracted from the novel Men of Maize, highlight the plight of indigenous Mayan people in defense of maize culture.

AL GRANO: Injection-Infection -- Focusing on food safety concerns and the deception of a better world behind bioproducts, this third installation piece is composed of 3D models extruded from polylactic acid, a corn-based resin. Encased in glass domes, the 3D prints show the structural formula of fructose, amylase, and polylactic acid (PLA), constituents produced by fermentation from raw cornstarch sourced in many cases from transgenic corn used in an inordinate number of processed bioproducts including foodstuffs in the USA. The very high demand for these products has required expansive agro-industrial production of bioengineered corn in the USA and across borders, and in 2001, local landraces in Mexico were contaminated due to in situ tests of GM corn cultivation conducted by multinational biotechnology corporations. The risks of reducing biodiversity associated with gene flow that infects and alters native maize varieties moreover negatively impacts indigenous populations in their ability to sustain their livelihood, their agriculture and their culture, hence repeating the decades-old story of exploitation told in the novel Men of Maize – a story persistently referenced in AL GRANO: Framing worlds.

Pat Badani

Collection:

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AL GRANO: Formas de pensar Mundos [View of the installation AL GRANO: Hack]

Work ID: 82576

Description: Solo exhibition at the Centro de Museos de la Universidad de Caldas, commissioned by the Festival de la Imagen 2014, in Manizales, Colombia.

Composed of 3 interwoven works “Al Grano: Formas de pensar mundos” is a gallery installation that focuses on the manipulation of codes - the underlying structure of genetic systems. Transgenic corn is seen as an explosive capsule with the capacity to divide communities and Nations, and yet the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. For me, a seed of transgenic corn represents an explosive capsule that on the one hand has the capacity to divide communities and Nations, and on the other hand the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. In sum, the seed encapsulates concentrated material rich enough to reflect on endangered worlds as well as new worlds in gestation. “Al Grano: Formas de pensar mundos” speak to these ideas.

Al Grano: Hack Based on the manipulation of digital codes - the underlying language of genetic systems - “Al Grano: Hack” is a series of electronically corrupted digital images of corn. In a gesture of symbolic resistance, I hacked the numeric code of genetically modified corn images and added information that was not previously there; texts that reference Latin American culture and accentuate the position of Mesoamerican indigenous populations in their rightful fight to sustain cultural and agricultural knowledge of vital importance for future generations world-wide. This gesture counteracts the practice by American multinational agricultural biotechnology corporations, who hack the genetic code of domesticated seed varieties to appropriate millennial indigenous knowledge for corporate profit.

Al Grano: injection-infection The piece is composed of three objects showing the structural chemical formula of fructose, amalyse, and polylactic acid (PLA), all derived from corn. A 3D printer, using PLA bioplastic, was used in production of the sculptural objects.

“Al Grano: injection-infection” addresses concern with large-scale production of transgenic corn by agricultural engineering industries for optimization of crop yield. The deception is that bio-products sourced from grown and harvested transgenic cropland, do not actually live up to the claim that they are beneficial, healthy and safe. Corn Fructose Syrup (HCFS), corn plastics (PLA), and corn-based ethanol (amalyse), are derived from genetically modified corn that causes a genetic and physiological imbalance in native maize varieties, disrupts local ecosystems, damages agricultural fields and also take away from local populations fields that could be used for food crops. (“Al Grano: injection-infection” was produced in collaboration with Chris Wille)

Al Grano: Lexis This piece is an inventory showing the nomenclature of spaces related to sustainable ways to grow and distribute food. They point to practices of resistance and reconstruction of the food system, to movements of conservation and care of ecosystems, to the development of sustainable communities, and to the recovery of traditional agricultural knowledge.

Pat Badani


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AL GRANO: Formas de pensar Mundos [View of 3D prints (sculptural installation pieces) titled AL GRANO: Injection-Infection]

Work ID: 82578

Description: Solo exhibition at the Centro de Museos de la Universidad de Caldas, commissioned by the Festival Internacional de la Imagen 2014, in Manizales, Colombia, May 2014.

Composed of 3 interwoven works “Al Grano: Formas de pensar mundos” is a gallery installation that focuses on the manipulation of codes - the underlying structure of genetic systems. Transgenic corn is seen as an explosive capsule with the capacity to divide communities and Nations, and yet the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. For me, a seed of transgenic corn represents an explosive capsule that on the one hand has the capacity to divide communities and Nations, and on the other hand the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. In sum, the seed encapsulates concentrated material rich enough to reflect on endangered worlds as well as new worlds in gestation. “Al Grano: Formas de pensar mundos” speak to these ideas.

Al Grano: Hack Based on the manipulation of digital codes - the underlying language of genetic systems - “Al Grano: Hack” is a series of electronically corrupted digital images of corn. In a gesture of symbolic resistance, I hacked the numeric code of genetically modified corn images and added information that was not previously there; texts that reference Latin American culture and accentuate the position of Mesoamerican indigenous populations in their rightful fight to sustain cultural and agricultural knowledge of vital importance for future generations world-wide. This gesture counteracts the practice by American multinational agricultural biotechnology corporations, who hack the genetic code of domesticated seed varieties to appropriate millennial indigenous knowledge for corporate profit.

Al Grano: injection-infection The piece is composed of three objects showing the structural chemical formula of fructose, amalyse, and polylactic acid (PLA), all derived from corn. A 3D printer, using PLA bioplastic, was used in production of the sculptural objects.

“Al Grano: injection-infection” addresses concern with large-scale production of transgenic corn by agricultural engineering industries for optimization of crop yield. The deception is that bio-products sourced from grown and harvested transgenic cropland, do not actually live up to the claim that they are beneficial, healthy and safe. Corn Fructose Syrup (HCFS), corn plastics (PLA), and corn-based ethanol (amalyse), are derived from genetically modified corn that causes a genetic and physiological imbalance in native maize varieties, disrupts local ecosystems, damages agricultural fields and also take away from local populations fields that could be used for food crops. (“Al Grano: injection-infection” was produced in collaboration with Chris Wille)

Al Grano: Lexis This piece is an inventory showing the nomenclature of spaces related to sustainable ways to grow and distribute food. They point to practices of resistance and reconstruction of the food system, to movements of conservation and care of ecosystems, to the development of sustainable communities, and to the recovery of traditional agricultural knowledge.

Pat Badani


Collection:

Date Made:

Materials:

Virtual Collection:

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AL GRANO: Injection-Infection [Installation detail]

Work ID: 82584

Description: Installation detail showing glass dome structures encasing three 3D prints designed and fabricated in collaboration with Chris Wille. Extruded with polylactic acid (corn-plastics) the prints measure 4” x 3” x 1” and show the structural formula of amylase, fructose, and polylactic acid (PLA).

Exhibition venues:
CURRENTS New Media Festival 2016
Workshop 1-10, New Mexico
June 17 to July 2, 2016
Curated group show

BALANCE-UNBALANCE 2015
Art + Science +Technology / Environment & Responsibility
ASU Herberger Institute NIGHT GALLERY
March 20 to 29, 2015


AL GRANO: Framing Worlds” is a new media installation concerned with environmental, cultural, technological, political and historical formations related to maize, a contested grain considered both food and cultural symbol in Mexico, and source of macro profits for multinational agribusiness.

AL GRANO: Framing Worlds deploys a staging of fact and fiction where various registers of images, texts and objects, coexist. These digitally produced 2D and 3D pieces have as common element the manipulation of languages, histories and codes (the latter pointing to the underlying structure of genetic systems).

AL GRANO: Hack -- A re-codifi¬cation process accentuating the position of Mesoamerican indigenous communities is brought about in a series of graphics in the shape of Mayan Glyphs that showcase the 'front end' of digital images of GM corn whose ‘back end’ codes have been hacked with the infusion of texts from the seminal 1930’s Latin American novel “Men of Maize” written by Guatemalan Nobel prize winner Miguel Angel Asturias.

Al GRANO: Crop-Cropping -- This is an interactive piece with a pictographic interface bearing the same Maya glyphs used in the previous piece – but devoid of all color. Its austere black and white presentation showcases the back end hacked code that result in the lip smacking GM corn glitch images in “AL GRANO: Hack.” By tapping, swiping, pinching and zooming on the Maya glyphs, the user engages in a game of deciphering meaning through ASCII and hexadecimal computer languages mixed with texts in the western syllabic language. These texts, extracted from the novel Men of Maize, highlight the plight of indigenous Mayan people in defense of maize culture.

AL GRANO: Injection-Infection -- Focusing on food safety concerns and the deception of a better world behind bioproducts, this third installation piece is composed of 3D models extruded from polylactic acid, a corn-based resin. Encased in glass domes, the 3D prints show the structural formula of fructose, amylase, and polylactic acid (PLA), constituents produced by fermentation from raw cornstarch sourced in many cases from transgenic corn used in an inordinate number of processed bioproducts including foodstuffs in the USA. The very high demand for these products has required expansive agro-industrial production of bioengineered corn in the USA and across borders, and in 2001, local landraces in Mexico were contaminated due to in situ tests of GM corn cultivation conducted by multinational biotechnology corporations. The risks of reducing biodiversity associated with gene flow that infects and alters native maize varieties moreover negatively impacts indigenous populations in their ability to sustain their livelihood, their agriculture and their culture, hence repeating the decades-old story of exploitation told in the novel Men of Maize – a story persistently referenced in AL GRANO: Framing worlds.

Pat Badani

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

AL GRANO: Injection-Infection [Installation detail]

Work ID: 82585

Description: Installation detail showing glass dome structures encasing three 3D prints designed and fabricated in collaboration with Chris Wille. Extruded with polylactic acid (corn-plastics) the prints measure 4” x 3” x 1” and show the structural formula of amylase, fructose, and polylactic acid (PLA).

Exhibition venues:
CURRENTS New Media Festival 2016
Workshop 1-10, New Mexico
June 17 to July 2, 2016
Curated group show

BALANCE-UNBALANCE 2015
Art + Science +Technology / Environment & Responsibility
ASU Herberger Institute NIGHT GALLERY
March 20 to 29, 2015


AL GRANO: Framing Worlds” is a new media installation concerned with environmental, cultural, technological, political and historical formations related to maize, a contested grain considered both food and cultural symbol in Mexico, and source of macro profits for multinational agribusiness.

AL GRANO: Framing Worlds deploys a staging of fact and fiction where various registers of images, texts and objects, coexist. These digitally produced 2D and 3D pieces have as common element the manipulation of languages, histories and codes (the latter pointing to the underlying structure of genetic systems).

AL GRANO: Hack -- A re-codifi¬cation process accentuating the position of Mesoamerican indigenous communities is brought about in a series of graphics in the shape of Mayan Glyphs that showcase the 'front end' of digital images of GM corn whose ‘back end’ codes have been hacked with the infusion of texts from the seminal 1930’s Latin American novel “Men of Maize” written by Guatemalan Nobel prize winner Miguel Angel Asturias.

Al GRANO: Crop-Cropping -- This is an interactive piece with a pictographic interface bearing the same Maya glyphs used in the previous piece – but devoid of all color. Its austere black and white presentation showcases the back end hacked code that result in the lip smacking GM corn glitch images in “AL GRANO: Hack.” By tapping, swiping, pinching and zooming on the Maya glyphs, the user engages in a game of deciphering meaning through ASCII and hexadecimal computer languages mixed with texts in the western syllabic language. These texts, extracted from the novel Men of Maize, highlight the plight of indigenous Mayan people in defense of maize culture.

AL GRANO: Injection-Infection -- Focusing on food safety concerns and the deception of a better world behind bioproducts, this third installation piece is composed of 3D models extruded from polylactic acid, a corn-based resin. Encased in glass domes, the 3D prints show the structural formula of fructose, amylase, and polylactic acid (PLA), constituents produced by fermentation from raw cornstarch sourced in many cases from transgenic corn used in an inordinate number of processed bioproducts including foodstuffs in the USA. The very high demand for these products has required expansive agro-industrial production of bioengineered corn in the USA and across borders, and in 2001, local landraces in Mexico were contaminated due to in situ tests of GM corn cultivation conducted by multinational biotechnology corporations. The risks of reducing biodiversity associated with gene flow that infects and alters native maize varieties moreover negatively impacts indigenous populations in their ability to sustain their livelihood, their agriculture and their culture, hence repeating the decades-old story of exploitation told in the novel Men of Maize – a story persistently referenced in AL GRANO: Framing worlds.

Pat Badani

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AL GRANO: Formas de pensar Mundos

Work ID: 82575

Description: Solo exhibition at the Centro de Museos de la Universidad de Caldas, commissioned by the Festival de la Imagen 2014, in Manizales, Colombia.

Composed of 3 interwoven works “Al Grano: Formas de pensar mundos” is a gallery installation that focuses on the manipulation of codes - the underlying structure of genetic systems. Transgenic corn is seen as an explosive capsule with the capacity to divide communities and Nations, and yet the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. For me, a seed of transgenic corn represents an explosive capsule that on the one hand has the capacity to divide communities and Nations, and on the other hand the ensuing debates have caused movements of conservation and care of ecosystems, the development of sustainable communities around food safety issues, and the recovery of agricultural traditions. In sum, the seed encapsulates concentrated material rich enough to reflect on endangered worlds as well as new worlds in gestation. “Al Grano: Formas de pensar mundos” speak to these ideas.

Al Grano: Hack Based on the manipulation of digital codes - the underlying language of genetic systems - “Al Grano: Hack” is a series of electronically corrupted digital images of corn. In a gesture of symbolic resistance, I hacked the numeric code of genetically modified corn images and added information that was not previously there; texts that reference Latin American culture and accentuate the position of Mesoamerican indigenous populations in their rightful fight to sustain cultural and agricultural knowledge of vital importance for future generations world-wide. This gesture counteracts the practice by American multinational agricultural biotechnology corporations, who hack the genetic code of domesticated seed varieties to appropriate millennial indigenous knowledge for corporate profit.

Al Grano: injection-infection The piece is composed of three objects showing the structural chemical formula of fructose, amalyse, and polylactic acid (PLA), all derived from corn. A 3D printer, using PLA bioplastic, was used in production of the sculptural objects.

“Al Grano: injection-infection” addresses concern with large-scale production of transgenic corn by agricultural engineering industries for optimization of crop yield. The deception is that bio-products sourced from grown and harvested transgenic cropland, do not actually live up to the claim that they are beneficial, healthy and safe. Corn Fructose Syrup (HCFS), corn plastics (PLA), and corn-based ethanol (amalyse), are derived from genetically modified corn that causes a genetic and physiological imbalance in native maize varieties, disrupts local ecosystems, damages agricultural fields and also take away from local populations fields that could be used for food crops. (“Al Grano: injection-infection” was produced in collaboration with Chris Wille)

Al Grano: Lexis This piece is an inventory showing the nomenclature of spaces related to sustainable ways to grow and distribute food. They point to practices of resistance and reconstruction of the food system, to movements of conservation and care of ecosystems, to the development of sustainable communities, and to the recovery of traditional agricultural knowledge.

Pat Badani


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AL GRANO: Augmented Cereals [two consumers interact with the piece using their smartphones and an app at Jewel Osco, Chicago, USA.]

Work ID: 82603

Description: Augmented Reality (AR) intervention in public space. A supermarket in Chicago, USA, 2015-16.
Credits: Chris Wille, research collaborator.

Al Grano: Augmented-Cereals” is an Augmented Reality experience created to specifically activate breakfast cereal aisles in supermarkets in the USA. Consumers can use Androind and iOS mobile devices with an augmented reality app to interact with the project. The project integrates geolocation and image recognition technology. (With the support of a "Robert Heinecken Trust Fund.")

In absence of comprehensive labeling of foods (and because breakfast is the most important meal of the day), I created a project to help consumers learn more about what they eat. Using their smartphones and my app, they scan cereal brands and find out which contain Genetically Modified corn.

The close-up smartphone documents show the image of a domesticated seed from Mexico emerging as “aura” over the cereal box. The seed is electronically etched with text extracted from “Men of Maize” – a seminal Latin American novel by Miguel Angel Asturias- that speaks to ill effects of agribusiness’ exploitation of human and natural resources.

A second iteration of the project lives in a gallery space as seen in the last images taken at Vermont Studios, USA, in 2016. The work is composed of fabricated miniature samples of cereal boxes representing brands that contain Genetically Modified corn. Visitors to the gallery interact with the work in the same way as in the supermarket; they use their smartphones and an Augmented Reality app to access additional project images and texts.

Pat Badani


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AL GRANO: Augmented Cereals [Visitors interacting with the work via their smartphones and an AR app. in a gallery setting at Vermont Studios]

Work ID: 82607

Description: Augmented Reality (AR) intervention in public space. A supermarket in Chicago, USA, 2015-16.
Credits: Chris Wille, research collaborator.

Al Grano: Augmented-Cereals” is an Augmented Reality experience created to specifically activate breakfast cereal aisles in supermarkets in the USA. Consumers can use Androind and iOS mobile devices with an augmented reality app to interact with the project. The project integrates geolocation and image recognition technology. (With the support of a "Robert Heinecken Trust Fund.")

In absence of comprehensive labeling of foods (and because breakfast is the most important meal of the day), I created a project to help consumers learn more about what they eat. Using their smartphones and my app, they scan cereal brands and find out which contain Genetically Modified corn.

The close-up smartphone documents show the image of a domesticated seed from Mexico emerging as “aura” over the cereal box. The seed is electronically etched with text extracted from “Men of Maize” – a seminal Latin American novel by Miguel Angel Asturias- that speaks to ill effects of agribusiness’ exploitation of human and natural resources.

A second iteration of the project lives in a gallery space as seen in the last images taken at Vermont Studios, USA, in 2016. The work is composed of fabricated miniature samples of cereal boxes representing brands that contain Genetically Modified corn. Visitors to the gallery interact with the work in the same way as in the supermarket; they use their smartphones and an Augmented Reality app to access additional project images and texts.

Pat Badani


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AL GRANO: Augmented Cereals [iPhone screenshots showing the Aurasma app (Geolocation function above), and the image reader function (below)]

Work ID: 82600

Description: Augmented Reality (AR) intervention in public space. A supermarket in Chicago, USA, 2015-16.
Credits: Chris Wille, research collaborator.

Al Grano: Augmented-Cereals” is an Augmented Reality experience created to specifically activate breakfast cereal aisles in supermarkets in the USA. Consumers can use Androind and iOS mobile devices with an augmented reality app to interact with the project. The project integrates geolocation and image recognition technology. (With the support of a "Robert Heinecken Trust Fund.")

In absence of comprehensive labeling of foods (and because breakfast is the most important meal of the day), I created a project to help consumers learn more about what they eat. Using their smartphones and my app, they scan cereal brands and find out which contain Genetically Modified corn.

The close-up smartphone documents show the image of a domesticated seed from Mexico emerging as “aura” over the cereal box. The seed is electronically etched with text extracted from “Men of Maize” – a seminal Latin American novel by Miguel Angel Asturias- that speaks to ill effects of agribusiness’ exploitation of human and natural resources.

A second iteration of the project lives in a gallery space as seen in the last images taken at Vermont Studios, USA, in 2016. The work is composed of fabricated miniature samples of cereal boxes representing brands that contain Genetically Modified corn. Visitors to the gallery interact with the work in the same way as in the supermarket; they use their smartphones and an Augmented Reality app to access additional project images and texts.

Pat Badani


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AL GRANO: Augmented Cereals [iPhone screenshots showing the Aurasma app (Geolocation function above), and the image reader function (below)]

Work ID: 82601

Description: iPhone screenshots showing the Aurasma app (Geolocation function above), and the image reader function (below) to detect cereal aisle and cereal brands that I have tagged because they reportedly contain GM Corn.

Augmented Reality (AR) intervention in public space. A supermarket in Chicago, USA, 2015-16.
Credits: Chris Wille, research collaborator.

Al Grano: Augmented-Cereals” is an Augmented Reality experience created to specifically activate breakfast cereal aisles in supermarkets in the USA. Consumers can use Androind and iOS mobile devices with an augmented reality app to interact with the project. The project integrates geolocation and image recognition technology. (With the support of a "Robert Heinecken Trust Fund.")

In absence of comprehensive labeling of foods (and because breakfast is the most important meal of the day), I created a project to help consumers learn more about what they eat. Using their smartphones and my app, they scan cereal brands and find out which contain Genetically Modified corn.

The close-up smartphone documents show the image of a domesticated seed from Mexico emerging as “aura” over the cereal box. The seed is electronically etched with text extracted from “Men of Maize” – a seminal Latin American novel by Miguel Angel Asturias- that speaks to ill effects of agribusiness’ exploitation of human and natural resources.

A second iteration of the project lives in a gallery space as seen in the last images taken at Vermont Studios, USA, in 2016. The work is composed of fabricated miniature samples of cereal boxes representing brands that contain Genetically Modified corn. Visitors to the gallery interact with the work in the same way as in the supermarket; they use their smartphones and an Augmented Reality app to access additional project images and texts.

Pat Badani


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AL GRANO: Augmented Cereals [two consumers interact with the piece using their smartphones and an app at Jewel Osco, Chicago, USA.]

Work ID: 82602

Description: Augmented Reality (AR) intervention in public space. A supermarket in Chicago, USA, 2015-16.
Credits: Chris Wille, research collaborator.

Al Grano: Augmented-Cereals” is an Augmented Reality experience created to specifically activate breakfast cereal aisles in supermarkets in the USA. Consumers can use Androind and iOS mobile devices with an augmented reality app to interact with the project. The project integrates geolocation and image recognition technology. (With the support of a "Robert Heinecken Trust Fund.")

In absence of comprehensive labeling of foods (and because breakfast is the most important meal of the day), I created a project to help consumers learn more about what they eat. Using their smartphones and my app, they scan cereal brands and find out which contain Genetically Modified corn.

The close-up smartphone documents show the image of a domesticated seed from Mexico emerging as “aura” over the cereal box. The seed is electronically etched with text extracted from “Men of Maize” – a seminal Latin American novel by Miguel Angel Asturias- that speaks to ill effects of agribusiness’ exploitation of human and natural resources.

A second iteration of the project lives in a gallery space as seen in the last images taken at Vermont Studios, USA, in 2016. The work is composed of fabricated miniature samples of cereal boxes representing brands that contain Genetically Modified corn. Visitors to the gallery interact with the work in the same way as in the supermarket; they use their smartphones and an Augmented Reality app to access additional project images and texts.

Pat Badani


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AL GRANO: Augmented Cereals [two consumers interact with the piece using their smartphones and an app at Jewel Osco, Chicago, USA.]

Work ID: 82604

Description: Augmented Reality (AR) intervention in public space. A supermarket in Chicago, USA, 2015-16.
Credits: Chris Wille, research collaborator.

Al Grano: Augmented-Cereals” is an Augmented Reality experience created to specifically activate breakfast cereal aisles in supermarkets in the USA. Consumers can use Androind and iOS mobile devices with an augmented reality app to interact with the project. The project integrates geolocation and image recognition technology. (With the support of a "Robert Heinecken Trust Fund.")

In absence of comprehensive labeling of foods (and because breakfast is the most important meal of the day), I created a project to help consumers learn more about what they eat. Using their smartphones and my app, they scan cereal brands and find out which contain Genetically Modified corn.

The close-up smartphone documents show the image of a domesticated seed from Mexico emerging as “aura” over the cereal box. The seed is electronically etched with text extracted from “Men of Maize” – a seminal Latin American novel by Miguel Angel Asturias- that speaks to ill effects of agribusiness’ exploitation of human and natural resources.

A second iteration of the project lives in a gallery space as seen in the last images taken at Vermont Studios, USA, in 2016. The work is composed of fabricated miniature samples of cereal boxes representing brands that contain Genetically Modified corn. Visitors to the gallery interact with the work in the same way as in the supermarket; they use their smartphones and an Augmented Reality app to access additional project images and texts.

Pat Badani


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AL GRANO: Augmented Cereals [Visitors interacting with the work via their smartphones and an AR app. in a gallery setting at Vermont Studios]

Work ID: 82606

Description: Augmented Reality (AR) intervention in public space. A supermarket in Chicago, USA, 2015-16.
Credits: Chris Wille, research collaborator.

Al Grano: Augmented-Cereals” is an Augmented Reality experience created to specifically activate breakfast cereal aisles in supermarkets in the USA. Consumers can use Androind and iOS mobile devices with an augmented reality app to interact with the project. The project integrates geolocation and image recognition technology. (With the support of a "Robert Heinecken Trust Fund.")

In absence of comprehensive labeling of foods (and because breakfast is the most important meal of the day), I created a project to help consumers learn more about what they eat. Using their smartphones and my app, they scan cereal brands and find out which contain Genetically Modified corn.

The close-up smartphone documents show the image of a domesticated seed from Mexico emerging as “aura” over the cereal box. The seed is electronically etched with text extracted from “Men of Maize” – a seminal Latin American novel by Miguel Angel Asturias- that speaks to ill effects of agribusiness’ exploitation of human and natural resources.

A second iteration of the project lives in a gallery space as seen in the last images taken at Vermont Studios, USA, in 2016. The work is composed of fabricated miniature samples of cereal boxes representing brands that contain Genetically Modified corn. Visitors to the gallery interact with the work in the same way as in the supermarket; they use their smartphones and an Augmented Reality app to access additional project images and texts.

Pat Badani


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AL GRANO: Augmented Cereals [Visitors interacting with the work via their smartphones and an AR app. in a gallery setting at Vermont Studios]

Work ID: 82605

Description: Augmented Reality (AR) intervention in public space. A supermarket in Chicago, USA, 2015-16.
Credits: Chris Wille, research collaborator.

Al Grano: Augmented-Cereals” is an Augmented Reality experience created to specifically activate breakfast cereal aisles in supermarkets in the USA. Consumers can use Androind and iOS mobile devices with an augmented reality app to interact with the project. The project integrates geolocation and image recognition technology. (With the support of a "Robert Heinecken Trust Fund.")

In absence of comprehensive labeling of foods (and because breakfast is the most important meal of the day), I created a project to help consumers learn more about what they eat. Using their smartphones and my app, they scan cereal brands and find out which contain Genetically Modified corn.

The close-up smartphone documents show the image of a domesticated seed from Mexico emerging as “aura” over the cereal box. The seed is electronically etched with text extracted from “Men of Maize” – a seminal Latin American novel by Miguel Angel Asturias- that speaks to ill effects of agribusiness’ exploitation of human and natural resources.

A second iteration of the project lives in a gallery space as seen in the last images taken at Vermont Studios, USA, in 2016. The work is composed of fabricated miniature samples of cereal boxes representing brands that contain Genetically Modified corn. Visitors to the gallery interact with the work in the same way as in the supermarket; they use their smartphones and an Augmented Reality app to access additional project images and texts.

Pat Badani


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make-A-move –Art Souterrain [passersby interacting with the responsive, screen-based installation]

Work ID: 82594

Description: Exhibition Venue: Art Souterrain Festival, 2015, Place des Arts, Montreal, Canada, February 28 to March 15, 2015. Curated by Art Sounterrain Festival 2015.

make-A-move – Art Souterrain” is an interactive work commissioned by Art Souterrain Festival 2015 and developed during a new media residency at Agence TOPO, in Montreal. The site-specific piece was designed for exhibition in public space at Place des Arts. Two automated portraits - a female and a male - reacted to the movements of passersby. When people walked in front of the two screens, the portraits uncannily followed them with their eyes.

The work was installed in a prominent space between the Montreal Museum of Contemporary Art and two theatres where pedestrians accessing the underground mall and the subway system were immediately confronted with the piece. The Art Souterrain Festival 2015 - whose theme was “Security in our society: what remains of our personal freedoms?” - was held in collaboration with "Nuit Blanche," a yearly winter event where thousands of Montreal citizens flood the city's underground malls to experience art events: installations, performances, music and dance, until well past midnight.

make-A-move featured two animated portraits - a female and a male model from Montreal, documented by the artist. The portraits reacted to the movements of pedestrians, and elicited engagement and excitement on the part of the public-at-large. When people walked in front of the two screens, the portraits uncannily followed them with their eyes. This was a co-production between media arts center Agence TOPO and Art Souterrain Festival. The work was subsequently shown in a new iteration at Agence TOPO in Montreal, from November 5th to December 15th, 2015.

make-A-move invited regular citizens to a game of cause and effect whereby they discovered their own measure of control over the portraits’ automated ‘gaze.’ The male and female avatars on the screens playfully engaged visitors with ideas about the use of personal and public space and the manipulation of camera based surveillance mechanisms that lead to questions such as: "Who is looking at whom, and why?" “Where are you, where have you been, and who else is there?”

- Pat Badani

Links:
Agence TOPO residency to produce the work: - http://www.agencetopo.qc.ca/wp/en/events/event/pat-badani-chicago- automne-2014/ - http://www.agencetopo.qc.ca/wp/en/events/event/- make-a-move-pat-badani-28-fevrier-au-15-mars-2015/

Art Souterrain Festival: - http://2015.artsouterrain.com/en/theme-2015


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make-A-move –Art Souterrain

Work ID: 82593

Description: Exhibition Venue: Art Souterrain Festival, 2015, Place des Arts, Montreal, Canada, February 28 to March 15, 2015. Curated by Art Sounterrain Festival 2015.

make-A-move – Art Souterrain” is an interactive work commissioned by Art Souterrain Festival 2015 and developed during a new media residency at Agence TOPO, in Montreal. The site-specific piece was designed for exhibition in public space at Place des Arts. Two automated portraits - a female and a male - reacted to the movements of passersby. When people walked in front of the two screens, the portraits uncannily followed them with their eyes.

The work was installed in a prominent space between the Montreal Museum of Contemporary Art and two theatres where pedestrians accessing the underground mall and the subway system were immediately confronted with the piece. The Art Souterrain Festival 2015 - whose theme was “Security in our society: what remains of our personal freedoms?” - was held in collaboration with "Nuit Blanche," a yearly winter event where thousands of Montreal citizens flood the city's underground malls to experience art events: installations, performances, music and dance, until well past midnight.

make-A-move featured two animated portraits - a female and a male model from Montreal, documented by the artist. The portraits reacted to the movements of pedestrians, and elicited engagement and excitement on the part of the public-at-large. When people walked in front of the two screens, the portraits uncannily followed them with their eyes. This was a co-production between media arts center Agence TOPO and Art Souterrain Festival. The work was subsequently shown in a new iteration at Agence TOPO in Montreal, from November 5th to December 15th, 2015.

make-A-move invited regular citizens to a game of cause and effect whereby they discovered their own measure of control over the portraits’ automated ‘gaze.’ The male and female avatars on the screens playfully engaged visitors with ideas about the use of personal and public space and the manipulation of camera based surveillance mechanisms that lead to questions such as: "Who is looking at whom, and why?" “Where are you, where have you been, and who else is there?”

- Pat Badani

Links:
Agence TOPO residency to produce the work: - http://www.agencetopo.qc.ca/wp/en/events/event/pat-badani-chicago- automne-2014/ - http://www.agencetopo.qc.ca/wp/en/events/event/- make-a-move-pat-badani-28-fevrier-au-15-mars-2015/

Art Souterrain Festival: - http://2015.artsouterrain.com/en/theme-2015


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make-A-move –Agence TOPO

Work ID: 82589

Description: Exhibited at Agence TOPO's ‘Vitrine”.

make-A-move – Agence TOPO” is a responsive, screen-based installation involving two flat screens, digital animation, software design, and physical interaction. It was conceived and developed by Pat Badani during a residency at Agence TOPO in Montreal. The interactive work and a wall installation made up of documents about the making of “make-A-move” were exhibited at Agence TOPO, in Montreal.

Text by Paule Mackrous:
Surveillance is represented most of the time as a kind of anthropomorphism with a human surveying another human with the use of a device. That said, in the article “Invisible Surveillance in Visual Arts” (2012), Katherine and David Barnard-Wills demonstrate that we live in an era of data valiance defined as “the systematic use of our personal data with the intention of controlling the actions of one or several individuals.” If the authors of this article see an opposition between bodies under surveillance and that of data surveillance, Pat Badani’s artwork make-A-move reconciles these two aspects and through the work, tackles the complex issues associated with concepts of surveillance (more accessible online: . http://www.agencetopo.qc.ca/wp/en/pat-badani-make-a-move-installation-vitrine_topo/


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make-A-move –Agence TOPO

Work ID: 82591

Description:make-A-move – Agence TOPO” is a responsive, screen-based installation involving two flat screens, digital animation, software design, and physical interaction. It was conceived and developed by Pat Badani during a residency at Agence TOPO in Montreal. The interactive work and a wall installation made up of documents about the making of “make-A-move” were exhibited at Agence TOPO, in Montreal.

Text by Paule Mackrous:
Surveillance is represented most of the time as a kind of anthropomorphism with a human surveying another human with the use of a device. That said, in the article “Invisible Surveillance in Visual Arts” (2012), Katherine and David Barnard-Wills demonstrate that we live in an era of data valiance defined as “the systematic use of our personal data with the intention of controlling the actions of one or several individuals.” If the authors of this article see an opposition between bodies under surveillance and that of data surveillance, Pat Badani’s artwork make-A-move reconciles these two aspects and through the work, tackles the complex issues associated with concepts of surveillance (more accessible online: . http://www.agencetopo.qc.ca/wp/en/pat-badani-make-a-move-installation-vitrine_topo/)


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make-A-move –Art Souterrain [two passersby taking a ‘selfie’ with the avatar on the screen during opening night at Place des Arts, in Montreal]

Work ID: 82596

Description: Exhibition Venue: Art Souterrain Festival, 2015, Place des Arts, Montreal, Canada, February 28 to March 15, 2015. Curated by Art Sounterrain Festival 2015.

make-A-move – Art Souterrain” is an interactive work commissioned by Art Souterrain Festival 2015 and developed during a new media residency at Agence TOPO, in Montreal. The site-specific piece was designed for exhibition in public space at Place des Arts. Two automated portraits - a female and a male - reacted to the movements of passersby. When people walked in front of the two screens, the portraits uncannily followed them with their eyes.

The work was installed in a prominent space between the Montreal Museum of Contemporary Art and two theatres where pedestrians accessing the underground mall and the subway system were immediately confronted with the piece. The Art Souterrain Festival 2015 - whose theme was “Security in our society: what remains of our personal freedoms?” - was held in collaboration with "Nuit Blanche," a yearly winter event where thousands of Montreal citizens flood the city's underground malls to experience art events: installations, performances, music and dance, until well past midnight.

make-A-move featured two animated portraits - a female and a male model from Montreal, documented by the artist. The portraits reacted to the movements of pedestrians, and elicited engagement and excitement on the part of the public-at-large. When people walked in front of the two screens, the portraits uncannily followed them with their eyes. This was a co-production between media arts center Agence TOPO and Art Souterrain Festival. The work was subsequently shown in a new iteration at Agence TOPO in Montreal, from November 5th to December 15th, 2015.

make-A-move invited regular citizens to a game of cause and effect whereby they discovered their own measure of control over the portraits’ automated ‘gaze.’ The male and female avatars on the screens playfully engaged visitors with ideas about the use of personal and public space and the manipulation of camera based surveillance mechanisms that lead to questions such as: "Who is looking at whom, and why?" “Where are you, where have you been, and who else is there?”

- Pat Badani

Links:
Agence TOPO residency to produce the work: - http://www.agencetopo.qc.ca/wp/en/events/event/pat-badani-chicago- automne-2014/ - http://www.agencetopo.qc.ca/wp/en/events/event/- make-a-move-pat-badani-28-fevrier-au-15-mars-2015/

Art Souterrain Festival: - http://2015.artsouterrain.com/en/theme-2015


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make-A-move –Agence TOPO

Work ID: 82586

Description: Exhibited at Agence TOPO's ‘Vitrine”.

make-A-move – Agence TOPO” is a responsive, screen-based installation involving two flat screens, digital animation, software design, and physical interaction. It was conceived and developed by Pat Badani during a residency at Agence TOPO in Montreal. The interactive work and a wall installation made up of documents about the making of “make-A-move” were exhibited at Agence TOPO, in Montreal.

Text by Paule Mackrous:
Surveillance is represented most of the time as a kind of anthropomorphism with a human surveying another human with the use of a device. That said, in the article “Invisible Surveillance in Visual Arts” (2012), Katherine and David Barnard-Wills demonstrate that we live in an era of data valiance defined as “the systematic use of our personal data with the intention of controlling the actions of one or several individuals.” If the authors of this article see an opposition between bodies under surveillance and that of data surveillance, Pat Badani’s artwork make-A-move reconciles these two aspects and through the work, tackles the complex issues associated with concepts of surveillance (more accessible online: . http://www.agencetopo.qc.ca/wp/en/pat-badani-make-a-move-installation-vitrine_topo/


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AL GRANO: Framing Worlds [Visitors at the exhibition]

Work ID: 82581

Description: ASU Herberger Institute NIGHT GALLERY, Tempe, Arizona, USA.

Exhibition venues:
CURRENTS New Media Festival 2016
Workshop 1-10, New Mexico
June 17 to July 2, 2016
Curated group show

BALANCE-UNBALANCE 2015
Art + Science +Technology / Environment & Responsibility
ASU Herberger Institute NIGHT GALLERY
March 20 to 29, 2015


AL GRANO: Framing Worlds” is a new media installation concerned with environmental, cultural, technological, political and historical formations related to maize, a contested grain considered both food and cultural symbol in Mexico, and source of macro profits for multinational agribusiness.

AL GRANO: Framing Worlds deploys a staging of fact and fiction where various registers of images, texts and objects, coexist. These digitally produced 2D and 3D pieces have as common element the manipulation of languages, histories and codes (the latter pointing to the underlying structure of genetic systems).

AL GRANO: Hack -- A re-codifi¬cation process accentuating the position of Mesoamerican indigenous communities is brought about in a series of graphics in the shape of Mayan Glyphs that showcase the 'front end' of digital images of GM corn whose ‘back end’ codes have been hacked with the infusion of texts from the seminal 1930’s Latin American novel “Men of Maize” written by Guatemalan Nobel prize winner Miguel Angel Asturias.

Al GRANO: Crop-Cropping -- This is an interactive piece with a pictographic interface bearing the same Maya glyphs used in the previous piece – but devoid of all color. Its austere black and white presentation showcases the back end hacked code that result in the lip smacking GM corn glitch images in “AL GRANO: Hack.” By tapping, swiping, pinching and zooming on the Maya glyphs, the user engages in a game of deciphering meaning through ASCII and hexadecimal computer languages mixed with texts in the western syllabic language. These texts, extracted from the novel Men of Maize, highlight the plight of indigenous Mayan people in defense of maize culture.

AL GRANO: Injection-Infection -- Focusing on food safety concerns and the deception of a better world behind bioproducts, this third installation piece is composed of 3D models extruded from polylactic acid, a corn-based resin. Encased in glass domes, the 3D prints show the structural formula of fructose, amylase, and polylactic acid (PLA), constituents produced by fermentation from raw cornstarch sourced in many cases from transgenic corn used in an inordinate number of processed bioproducts including foodstuffs in the USA. The very high demand for these products has required expansive agro-industrial production of bioengineered corn in the USA and across borders, and in 2001, local landraces in Mexico were contaminated due to in situ tests of GM corn cultivation conducted by multinational biotechnology corporations. The risks of reducing biodiversity associated with gene flow that infects and alters native maize varieties moreover negatively impacts indigenous populations in their ability to sustain their livelihood, their agriculture and their culture, hence repeating the decades-old story of exploitation told in the novel Men of Maize – a story persistently referenced in AL GRANO: Framing worlds.

Pat Badani

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make-A-move –Art Souterrain [family of passersby interacting with the responsive, screen-based installation]

Work ID: 82595

Description: Exhibition Venue: Art Souterrain Festival, 2015, Place des Arts, Montreal, Canada, February 28 to March 15, 2015.

make-A-move – Art Souterrain” is an interactive work commissioned by Art Souterrain Festival 2015 and developed during a new media residency at Agence TOPO, in Montreal. The site-specific piece was designed for exhibition in public space at Place des Arts. Two automated portraits - a female and a male - reacted to the movements of passersby. When people walked in front of the two screens, the portraits uncannily followed them with their eyes.

The work was installed in a prominent space between the Montreal Museum of Contemporary Art and two theatres where pedestrians accessing the underground mall and the subway system were immediately confronted with the piece. The Art Souterrain Festival 2015 - whose theme was “Security in our society: what remains of our personal freedoms?” - was held in collaboration with "Nuit Blanche," a yearly winter event where thousands of Montreal citizens flood the city's underground malls to experience art events: installations, performances, music and dance, until well past midnight.

make-A-move featured two animated portraits - a female and a male model from Montreal, documented by the artist. The portraits reacted to the movements of pedestrians, and elicited engagement and excitement on the part of the public-at-large. When people walked in front of the two screens, the portraits uncannily followed them with their eyes. This was a co-production between media arts center Agence TOPO and Art Souterrain Festival. The work was subsequently shown in a new iteration at Agence TOPO in Montreal, from November 5th to December 15th, 2015.

make-A-move invited regular citizens to a game of cause and effect whereby they discovered their own measure of control over the portraits’ automated ‘gaze.’ The male and female avatars on the screens playfully engaged visitors with ideas about the use of personal and public space and the manipulation of camera based surveillance mechanisms that lead to questions such as: "Who is looking at whom, and why?" “Where are you, where have you been, and who else is there?”

- Pat Badani

Links:
Agence TOPO residency to produce the work: - http://www.agencetopo.qc.ca/wp/en/events/event/pat-badani-chicago- automne-2014/ - http://www.agencetopo.qc.ca/wp/en/events/event/- make-a-move-pat-badani-28-fevrier-au-15-mars-2015/

Art Souterrain Festival: - http://2015.artsouterrain.com/en/theme-2015


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make-A-move –Art Souterrain [a child interacting with the work during opening night at Place des Arts, in Montreal]

Work ID: 82597

Description: Exhibition Venue: Art Souterrain Festival, 2015, Place des Arts, Montreal, Canada, February 28 to March 15, 2015. Curated by Art Sounterrain Festival 2015.

make-A-move – Art Souterrain” is an interactive work commissioned by Art Souterrain Festival 2015 and developed during a new media residency at Agence TOPO, in Montreal. The site-specific piece was designed for exhibition in public space at Place des Arts. Two automated portraits - a female and a male - reacted to the movements of passersby. When people walked in front of the two screens, the portraits uncannily followed them with their eyes.

The work was installed in a prominent space between the Montreal Museum of Contemporary Art and two theatres where pedestrians accessing the underground mall and the subway system were immediately confronted with the piece. The Art Souterrain Festival 2015 - whose theme was “Security in our society: what remains of our personal freedoms?” - was held in collaboration with "Nuit Blanche," a yearly winter event where thousands of Montreal citizens flood the city's underground malls to experience art events: installations, performances, music and dance, until well past midnight.

make-A-move featured two animated portraits - a female and a male model from Montreal, documented by the artist. The portraits reacted to the movements of pedestrians, and elicited engagement and excitement on the part of the public-at-large. When people walked in front of the two screens, the portraits uncannily followed them with their eyes. This was a co-production between media arts center Agence TOPO and Art Souterrain Festival. The work was subsequently shown in a new iteration at Agence TOPO in Montreal, from November 5th to December 15th, 2015.

make-A-move invited regular citizens to a game of cause and effect whereby they discovered their own measure of control over the portraits’ automated ‘gaze.’ The male and female avatars on the screens playfully engaged visitors with ideas about the use of personal and public space and the manipulation of camera based surveillance mechanisms that lead to questions such as: "Who is looking at whom, and why?" “Where are you, where have you been, and who else is there?”

- Pat Badani

Links:
Agence TOPO residency to produce the work: - http://www.agencetopo.qc.ca/wp/en/events/event/pat-badani-chicago- automne-2014/ - http://www.agencetopo.qc.ca/wp/en/events/event/- make-a-move-pat-badani-28-fevrier-au-15-mars-2015/

Art Souterrain Festival: - http://2015.artsouterrain.com/en/theme-2015


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make-A-move –Art Souterrain [video documenting the installation]

Work ID: 82599

Description: Exhibition Venue: Art Souterrain Festival, 2015, Place des Arts, Montreal, Canada, February 28 to March 15, 2015. Curated by Art Sounterrain Festival 2015.

make-A-move – Art Souterrain” is an interactive work commissioned by Art Souterrain Festival 2015 and developed during a new media residency at Agence TOPO, in Montreal. The site-specific piece was designed for exhibition in public space at Place des Arts. Two automated portraits - a female and a male - reacted to the movements of passersby. When people walked in front of the two screens, the portraits uncannily followed them with their eyes.

The work was installed in a prominent space between the Montreal Museum of Contemporary Art and two theatres where pedestrians accessing the underground mall and the subway system were immediately confronted with the piece. The Art Souterrain Festival 2015 - whose theme was “Security in our society: what remains of our personal freedoms?” - was held in collaboration with "Nuit Blanche," a yearly winter event where thousands of Montreal citizens flood the city's underground malls to experience art events: installations, performances, music and dance, until well past midnight.

make-A-move featured two animated portraits - a female and a male model from Montreal, documented by the artist. The portraits reacted to the movements of pedestrians, and elicited engagement and excitement on the part of the public-at-large. When people walked in front of the two screens, the portraits uncannily followed them with their eyes. This was a co-production between media arts center Agence TOPO and Art Souterrain Festival. The work was subsequently shown in a new iteration at Agence TOPO in Montreal, from November 5th to December 15th, 2015.

make-A-move invited regular citizens to a game of cause and effect whereby they discovered their own measure of control over the portraits’ automated ‘gaze.’ The male and female avatars on the screens playfully engaged visitors with ideas about the use of personal and public space and the manipulation of camera based surveillance mechanisms that lead to questions such as: "Who is looking at whom, and why?" “Where are you, where have you been, and who else is there?”

- Pat Badani

Links:
Agence TOPO residency to produce the work: - http://www.agencetopo.qc.ca/wp/en/events/event/pat-badani-chicago- automne-2014/ - http://www.agencetopo.qc.ca/wp/en/events/event/- make-a-move-pat-badani-28-fevrier-au-15-mars-2015/

Art Souterrain Festival: - http://2015.artsouterrain.com/en/theme-2015


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make-A-move –Art Souterrain [exhibition attracted both young and older passersby during opening night at Place des Arts, in Montreal]

Work ID: 82598

Description: Exhibition Venue: Art Souterrain Festival, 2015, Place des Arts, Montreal, Canada, February 28 to March 15, 2015. Curated by Art Sounterrain Festival 2015.

make-A-move – Art Souterrain” is an interactive work commissioned by Art Souterrain Festival 2015 and developed during a new media residency at Agence TOPO, in Montreal. The site-specific piece was designed for exhibition in public space at Place des Arts. Two automated portraits - a female and a male - reacted to the movements of passersby. When people walked in front of the two screens, the portraits uncannily followed them with their eyes.

The work was installed in a prominent space between the Montreal Museum of Contemporary Art and two theatres where pedestrians accessing the underground mall and the subway system were immediately confronted with the piece. The Art Souterrain Festival 2015 - whose theme was “Security in our society: what remains of our personal freedoms?” - was held in collaboration with "Nuit Blanche," a yearly winter event where thousands of Montreal citizens flood the city's underground malls to experience art events: installations, performances, music and dance, until well past midnight.

make-A-move featured two animated portraits - a female and a male model from Montreal, documented by the artist. The portraits reacted to the movements of pedestrians, and elicited engagement and excitement on the part of the public-at-large. When people walked in front of the two screens, the portraits uncannily followed them with their eyes. This was a co-production between media arts center Agence TOPO and Art Souterrain Festival. The work was subsequently shown in a new iteration at Agence TOPO in Montreal, from November 5th to December 15th, 2015.

make-A-move invited regular citizens to a game of cause and effect whereby they discovered their own measure of control over the portraits’ automated ‘gaze.’ The male and female avatars on the screens playfully engaged visitors with ideas about the use of personal and public space and the manipulation of camera based surveillance mechanisms that lead to questions such as: "Who is looking at whom, and why?" “Where are you, where have you been, and who else is there?”

- Pat Badani

Links:
Agence TOPO residency to produce the work: - http://www.agencetopo.qc.ca/wp/en/events/event/pat-badani-chicago- automne-2014/ - http://www.agencetopo.qc.ca/wp/en/events/event/- make-a-move-pat-badani-28-fevrier-au-15-mars-2015/

Art Souterrain Festival: - http://2015.artsouterrain.com/en/theme-2015


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make-A-move –Agence TOPO

Work ID: 82590

Description: Exhibited at Agence TOPO’s production studios.

make-A-move – Agence TOPO” is a responsive, screen-based installation involving two flat screens, digital animation, software design, and physical interaction. It was conceived and developed by Pat Badani during a residency at Agence TOPO in Montreal. The interactive work and a wall installation made up of documents about the making of “make-A-move” were exhibited at Agence TOPO, in Montreal.

Text by Paule Mackrous:
Surveillance is represented most of the time as a kind of anthropomorphism with a human surveying another human with the use of a device. That said, in the article “Invisible Surveillance in Visual Arts” (2012), Katherine and David Barnard-Wills demonstrate that we live in an era of data valiance defined as “the systematic use of our personal data with the intention of controlling the actions of one or several individuals.” If the authors of this article see an opposition between bodies under surveillance and that of data surveillance, Pat Badani’s artwork make-A-move reconciles these two aspects and through the work, tackles the complex issues associated with concepts of surveillance (more accessible online: . http://www.agencetopo.qc.ca/wp/en/pat-badani-make-a-move-installation-vitrine_topo/)


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make-A-move –Agence TOPO

Work ID: 82592

Description:make-A-move – Agence TOPO” is a responsive, screen-based installation involving two flat screens, digital animation, software design, and physical interaction. It was conceived and developed by Pat Badani during a residency at Agence TOPO in Montreal. The interactive work and a wall installation made up of documents about the making of “make-A-move” were exhibited at Agence TOPO, in Montreal.

Text by Paule Mackrous:
Surveillance is represented most of the time as a kind of anthropomorphism with a human surveying another human wi