Six outstanding experts in their field have sifted through 360 applicants from all over the world and chosen 30 emerging talents who they will mentor and help in developing their projects. Materials and research methods as well as formats will be approached in new and challenging ways. Forecast throws a light on the inner workings of creative processes and lets audiences follow the development of ideas, how concepts are invented and tossed aside, and how decisions are made.
At the conclusion of the Forecast Forum, each mentor will select one talent to accompany through the realization of his or her project. The results of these six collaborations will be presented in February 2016 at the Forecast Festival.
Joanna Banach’s Project: “MMM Hotel”
Joanna Banach’s project proposal “MMM Hotel” describes a pop-up hotel made of portable modules. MMM stands for Modular, Mobile, Modifiable and addresses the inconvenient problem of housing scarcity at temporary mass events like design fairs, music festivals or sport events.
The “MMM Hotel” contains transportable ready-made, fully-furnished units consisting of two independent modules: the bed and its extension, the living module. Thanks to its flexible features, the hotel offers different combinations that make it adaptable to space, size and host capacity. It can be placed wherever it is most convenient for users.
Wendy Di Wang’s Project: “Solux”
Wendy Di Wang’s project proposal “Solux” describes an interactive street lighting system to improve safety in public places. “Solux” is based on solar tracking technology and permits a far more efficient and economical way to harness solar power.
The system consists of LED light and a multiple wireless sensor module that enables presence-based light control. Upon detecting a presence, the different units communicate with other units in the vicinity to create dynamic lighting that follows passers-by. As a consequence, “Solux” offers a highly efficient way to collect solar power and to reduce costs both for electricity as well as for the modernization of public lighting systems.
Arturo Soto’s Project: Untitled
Arturo Soto’s project proposal entails a photographic depiction of Ciudad Juárez in Mexico that reflects the city’s complex history. Processes of globalization and a specific urban hybridity, both of which are due to Juárez’ geographical location on the border with the USA, have shaped the city’s history.
Arturo Soto is interested in investigating how personal and cultural memories are embedded in the landscape. Understanding the city as a sum of individual imaginaries, he plans to work together with his father and interweave his father’s anecdotes with images of public spaces to confound past and present realities.
Kylie King’s Project: “You Can´t Photograph The Future”
Kylie King’s project proposal “You Can’t Photograph The Future” is a video installation that questions our understanding of the immense problem of environmental destruction through the visual register. Her point of departure is the new geological turn of the anthropocene, a proposed epoch that begins when human activities started to have a significant global impact on earth’s ecosystems.
“You Can’t Photograph The Future” will include indexed images from five anthropocentric scales to draw the attention of the viewer to the scalability of jurisdiction, governance and public action in a shifting climate. Her use of photography in this project evidences its speculative motivation for political action.
Arne Vogelgesang’s Project: “Mirror Stage”
Arne Vogelgesang‘s project proposal “Mirror Stage” combines the use of contemporary technologies of human representation through hardware and software interfaces with questions of national identity. By tracing radical political subcultures and their diffusion of propaganda on the internet, he draws a virtual landscape of ideological Germany.
Arne Vogelgesang intends to employ face, body and spatial tracking, the mapping of tracked movements on 3D avatars, and speech synthesis in order to appropriate found internet propaganda. The resulting interactive environment takes visitors on a horrific joyride through a virtual extremist Germany, with which they can identify or distance themselves from it.
Maren Kames‘ Project: “90° 0′ 0″ S”
With her project proposal “90° 0′ 0″ S”, Maren Kames plans to transform the visual and auditive density of her texts into a physically perceptible experience. In an arrangement of sound, projections and light, she wants to embed her texts in a spatial context, where they move like a body that is stretching and contracting, swelling and receding again.
Exposed to this environment, the reader scans and explores the texts like an unknown landscape, or like fragile and open textures that are constructed out of different voices, tones and dynamics, marked by musical and cinematic structures such as tempo, montage and cuts.
Ana María Gómez López’ Project: “Wind Instruments”
Ana María Gómez López’ project proposal “Wind Instruments” is a sound installation of three wind-based systems: an industrial-scale data center, a coastal wind farm and a historic church organ. Using full-spectrum recordings of audible, ultrasonic and infrasonic wavelengths, she will interweave meteorological and sonic phenomena into an immersive architectural intervention.
Data centers produce white noise from circuit-based severs and hard discs in parallel yet alternating operations. console-controlled pipes and reeds, operating variably as individuals or in groups. In using these sources, Wind Instruments examines not only the sonic limits of auricular perception and human impact on the environment, but also the technique and structure of instrumental-based composition.
Christina Della Giustina’s Project: “you are variations”
Christina Della Giustina‘s project proposal “you are variations” reads scientific data on the life of trees as a music score. It interprets, translates and arranges long-term measurements of trees into a composition. In so doing, it draws attention to the complex water cycling and sophisticated energy balance trees exhibit under different environmental conditions. In light of the contemporary environmental situation, the project unfolds against a backdrop of serious concern regarding trends in climate change and responds to those trends by dealing with issues of overall temperature increase and related water cycle modifications.
L. Sasha Gora’s Project: “Talking with Your Mouth Full”
L. Sasha Gora’s proposed project “Talking with Your Mouth Full” is a performative installation. Moving beyond a simple exploration of food associated with religions, lifestyles and traditions, L. Sasha Gora proposes an installation created in collaboration with artists, researchers and designers that analyzes eating rituals comparatively and in-depth. When do we eat with utensils or with our hands? How do table manners vary across cultures?
As more and more people pay attention to what they eat, organic, vegetarian, gluten-free or otherwise, L. Sasha Gora wants to curate a project that departs from the mantra “we are what we eat” to propose instead that we are how we eat. She aims to present a point of view that surpasses treating eatables as a medium, the aesthetics of which are to be exhibited. In her view, food is truly democratic, something discussions surrounding food rarely reflect. L. Sasha Gora wants to bring different voices to the table and look at the roles of food in cultures around the world.
Noémi Zajzon’s Project: “Encounters with Diasporic Futures”
Noémi Zajzon‘s project proposal “Encounters with Diasporic Futures” investigates the urban terrain as a socially constructed mainspring and mediator of being and belonging, of memories, motivations and narratives of diaspora youth in London.
The British-born Bangladeshi youth represents a major percentage of the young population in the UK, especially in London. Using maps as tools for creative interrogation and personal reflection, Noémi Zajzon aims to depict everyday journeys and draw out how objects, resources, materials and the environment of London’s urban terrain both enable and restrict the creativity and imagination of the Bangladeshi youth community. In this way, maps become sources of knowledge not only of places, but also of site-specific social issues and expressions of power and knowledge.
By Maxie Fischer