The hand-painted tail section of a BAe 146-200, taken over as a studio and ‘hide’ is Juneau Projects’ response to ‘Flights of Fancy’.
The result of an undefined event in which the pair now live as feral wildlife artists, Gleaners of the Infocalypse is presented as a stage set fantasy about what life could be like in the aftermath of a technology-driven disaster. The title references both Millet’s 1857 painting The Gleaners and Neal Stephenson’s contraction of ‘information’ and ‘apocalypse’ from his 1992 sci-fi novel, Snow Crash. The artists are interested in the possibility of living in a manner similar to Cargo Cults (pre-industrial societies that believe the technologies of more advanced cultures are of a religious nature).
The work is at odds with the pastoral idyll of the landscape, suggesting a dislocated ‘happening’ and make do and mend gone mad.
Juneau Projects are Philip Duckworth, born in Iserlohn, Germany, 1976 and Ben Sadler, born in Birmingham, UK, 1977. Both live and work in Birmingham, UK and Juneau Projects was formed in 2001. The majority of their work includes participatory elements and involves projection, sound, music, animation and installation. They are particularly interested in the rapidly increasing speed of technological development, and its associated obsolescence. Recent work has examined the overlap between performance as musicians, sculpture and installation. They have built a series of homemade devices, which attempt to function as both sculpture and playable musical instrument. Their new wall-based pieces examine equipment-fetishism and the DIY processes which facilitate their electronic music. Through a process similar to that of Cargo Cults, they have tried to interpret the music and equipment they make. After World War Two, when many US Airforce and Navy bases on Pacific islands were decommissioned, Cargo Cults sprang up, trying to remake valuable artefacts of first world technology; radios and headphones from straw and coconuts, landing strips and aircraft from driftwood, in an attempt to tempt the real thing back to their islands. Similarly, Juneau Projects have attempted to remake and explain the musical electronics and software that they use, through paintings and sculpture which decode and re-encode subjects of songs, the inner working of computer programs and their own first attempts at making electronic music before affordable laptops.
Solo exhibitions include ‘3 Megabytes of Hot RAM’, Ceri Hand Gallery, 2011; ‘Trappenkamp’, Tate Britain, 2008; ‘I Went to Woods’, New Art Gallery Walsall, 2008; ‘Aggressive Localism’, MIMA, Middlesbrough, 2007 and ‘Black Moss’, 2006, Ikon Gallery, Birmingham, Wysing Arts Centre, Cambridgeshire, The Model, Sligo, FACT, Liverpool and Glynn Vivian Art Gallery, Swansea. Group exhibitions include ‘The Witching Hour’, Birmingham Art Gallery, 2010, ‘Experimenta Folklore’, Frankfurter Kunstverein, Frankfurt, Germany, 2008 and the ‘British Art Show 6’, Hayward Touring: Baltic, Gateshead, International 3, Manchester, Bonnington, Nottingham, BCMA, Bristol, 2005.
Saturday 26 May, 3pm
Artists’ Talk: Juneau Projects in the Rostherne Room, Stableyard
Juneau Projects will discuss their work, Gleaners of the Infocalypse, with the Biennial curators and Richard Parr, Retro Aviation
Sunday 27 May, 1-4pm
Hunter Gatherer Painting Competition
Join Juneau Projects for an afternoon of wildlife/landscape painting in the Parkland. One lucky participant will receive first prize: a signed mug produced by JP to commemorate the event! To register, email us here.