Hemauer and Keller continue their residency about the observation of the sky
As winners of the Collide Pro Helvetia Award–now Connect–, Hemauer/Keller start their residency in the Laboratory. We spoke to the artists about their intention to develop solar balloons that sit on clouds, their aim to observe the colour of the sky for the rest of their lives, and the role of art in the climate crisis.
Since 2003, Christina Hemauer and Roman Keller’s artistic research displays a major ecological and political commitment that is expressed in films, installations, performances, and publications. One of their primary interests is the history of oil and its alternative sources, particularly solar energy. Their documentary essay A Road Not Taken, 2010 examined former US President Jimmy Carter’s early and ultimately ineffective efforts to promote alternative forms of energy generation, as symbolised by the installation of solar panels on the White House’s roof. For their 2008 Cairo Biennale’s project Sun of 1913, they reconstructed a section of an early solar plant inaugurated in 1913 and retold its story, erased by the worldwide predominance of oil precipitated by the First World War.
In recent years, Hemauer and Keller have been examining the human-nature relationship in the age of the climate crisis. Notably, the artistic duo has researched the changes in the blueness of the sky caused by global heating and geopolitical choices. In 2015, they reproduced Horace-Bénédict de Saussure’s Cyanometer in their project Concerning the Blueness of the Sky. After consulting climatologist Atsumu Ohmura, they developed solar balloons to fly to the lower stratosphere, converting the motion picture images mathematically into tonal values for their installation Voyages atmosphériques, 2016. Their latest work, Observing Human Skies, 2021, is an all-sky self-cleaning camera that takes two pictures every 30 seconds. The measuring device is deliberately placed on a museum’s rooftop, becoming the ever-changing colours of the sky part of the museum’s collection.
The artist duo seeks to observe and measure the colour of the sky for the rest of their lives. As they remarked, 'In the Middle Ages, we believed in the place of God in heaven. Today, we have to admit that we have a part in shaping the sky. Like all the changes occurring because of climate change, it scares us. At the same time, we have no choice but to take responsibility for what we do.'
You’ve previously worked with climate scientists studying the effects of the Anthropocene in the sky, but they aren’t concerned with its colour changes. How did your interest in studying the blueness of the sky come about? What fascinates you about it?
We were surprised that the colour of the sky is not scientifically observed. Climate researchers assume that it has already changed and will continue to change in the future. The argument of Reto Knutti, a climatologist at ETH Zurich, affirming that the sky colour is not a relevant scientific value, provoked us. We thought that this is where art has to come into play.
What attracted you in the first place to such a specialised scientific environment like CERN?
When we received the [Collide Pro Helvetia] Award, which we won with a residency project proposing a cooperation with the CLOUD Experiment – we didn’t know what kind of gift we were given. We think the spirit of cooperation is unparalleled to clarify the fundamental questions of our existence. We feel that the employees at CERN sometimes also secretly think: “What we’re doing here is a bit crazy”. Likewise, we know this feeling well as artists – even if our plans and budgets are much more manageable. On the one hand, what is delightful at CERN is the excellence of the scientists and the entire team. On the other hand, it is the influence of their findings on our culture.
The CLOUD Experiment at CERN studies the possible link between galactic cosmic rays and cloud formation. What do you intend to develop during your residency in cooperation with CLOUD researchers?
We suggested developing our solar balloons so that they could float on top of a cloud layer. We like the idea of building something that sits on a cloud itself. The intention is also to be able to include some instruments to find out more about the clouds. We know we will measure cosmic rays with a CERN sensor. The rest is currently under discussion.
In your project Concerning the Blueness of the Sky, you restored the Cyanometer, a 18th-century sky colour measurement device, and in Voyages atmosphériques, you developed solar balloons to measure the blueness of the sky, showing both technical inventiveness and aesthetic approach. How would you describe your work within the more traditional division between artistic and scientific research?
Regarding the Cyanometer, we were interested in making the instrument usable again. The few remaining copies are yellowed and faded. We took Horace-Bénédict de Saussure’s instructions from the end of the 18th century and tried to make the same dilution series with the same pigments, for which we also used modern [measuring] instruments such as a spectrometer. In the art context, there is the practice of re-enactment – a repetition and reappropriation of already existing things. In a scientific context, it would rather be understood as a historical experiment. Although the procedures are similar, a scientific paper would be produced in a scientific context. For us, it’s about the sensory experience of being able to use the Cyanometer again.
Concerning the solar balloons, we were fascinated by the possibility of visiting the place where the blue of the sky is created. In the lower stratosphere at the height of 17 km, 90% of the atmosphere is left below. If you look up from there, the sky is black. The atmosphere, where the incoming sunlight is scattered and the sky is made blue, is only a thin breath that snuggles up the Earth.
How does Observing Human Skies, 2021 work? Why is it situated on a museum’s roof?
It is a classic task of art museums to collect human-made objects. We would like to build a bridge between museums and science with a series of data from sky images taken at least during 30 years. In the Museum of Contemporary Art Belgrade, we installed the first prototype of a two-lens, self-cleaning all-sky camera with a 180° fish-eye lens, which takes two pictures every minute, and will do it over 100 days. The images are converted into a 1.2-minute film overnight and then looped on a monitor in the exhibition with all the videos from previous days. The aim is to obtain data good and valuable enough, so it can also be used scientifically. We are in contact with various scientists to achieve it.
You seek to observe the colour of the sky for the next 30 years, as following the sky involves bearing witness to the impact of human activities. How has your research evolved with the worsening of the climate crisis? How do you envision the future of the sky?
In the Middle Ages, we believed in the place of God in heaven. Today, we have to admit that we ourselves have a part in shaping the sky. Like all the changes occurring because of climate change, it scares us. At the same time, we have no choice but to take responsibility for what we do. Concerning the sky, the colour could change in either direction. With a reduction in the emissions of soot particles produced by burning fossil fuels, the sky would get bluer. This has already happened in Western Europe and North America with the introduction of catalytic converters; the phenomenon is called Global Brightening.
If, for example, China suddenly switched off its coal-fired power plants, the global climate would warm up by approx. 0.2 °C, as less sunlight would be reflected in the atmosphere. On the other hand, researchers have been thinking for a long time to slow down climate change with the targeted introduction of sulphate particles into the upper atmosphere. In this way, parts of the sunlight will be reflected and its scattering will change1, which would make our skies whiter.
What role does art play in developing new forms of understanding the climate crisis and bringing about a paradigm shift to build a post-anthropocentric future?
We assume that a post-anthropocentric age will only arise when humans die out. If not, our species will have to take on even more responsibility for natural cycles and the limited regenerative capacity of the Earth. This requires a profound cultural change. In this process, art can certainly raise a few critical questions and sharpen awareness of things that are not in focus. However, we should not overestimate the role of art. As with fundamental research, art is of partial social interest. Both have always provided essential insights and knowledge, which, however, often only arrive at the mainstream much later. Concerning climate change, they might even arrive too late.
Article by Ana Prendes, Communications and Content Producer
 Lauren Morello (2012). Geoengineering Could Turn Skies White', Scientific American https://www.scientificamerican.com/article/geoengineering-could-turn-skies-white
Hemauer na Keller kuendelea makazi yao kuhusu uchunguzi wa anga Kama washindi wa Collide Pro Helvetia Tuzo <unk> sasa Kuunganisha<unk>, Hemauer / Keller kuanza makazi yao katika Maabara. "Tuliwauliza kuhusu nia yao ya kutengeneza puto la jua linaloweza kukaa juu ya mawingu, lengo lao la kuchunguza rangi ya anga kwa maisha yao yote, na jukumu la sanaa katika mgogoro wa hali ya hewa.""" Tangu 2003, Christina Hemauer na Roman Keller wameonyesha kujitolea kwa mazingira na kisiasa ambayo huonyeshwa katika filamu, mitambo, maonyesho, na machapisho. Mojawapo ya mapendezi yao makuu ni historia ya mafuta na vyanzo vyake vya badala, hasa nishati ya jua. "Katika filamu ya ""A Road Not Taken"" ya mwaka 2010, Rais wa zamani wa Marekani Jimmy Carter alionyesha jinsi alivyojitahidi sana kuendeleza njia mbadala za kutengeneza nishati, kama ilivyoonyeshwa na kuweka paneli za jua kwenye paa la White House." Katika mradi wa Biennale ya Cairo ya mwaka wa 2008, Sun of 1913, walijenga upya sehemu ya kiwanda cha jua cha mapema kilichoanzishwa mwaka wa 1913 na kuelezea hadithi yake, iliyofutwa na kuongezeka kwa mafuta ulimwenguni kote kwa sababu ya Vita vya Kwanza vya Ulimwengu. Katika miaka ya hivi karibuni, Hemauer na Keller wamekuwa wakichunguza uhusiano wa binadamu na asili katika enzi ya mgogoro wa hali ya hewa. Kwa mfano, duo ya kisanii imechunguza mabadiliko katika bluu ya anga inayosababishwa na joto la dunia na chaguzi za kijiografia. "Hata hivyo, katika mwaka wa 2015, walirudia ""Cyanometer"" ya Horace-Bénédicte de Saussure katika mradi wao ""Kuhusu Blueness of the Sky.""" Baada ya kushauriana na mtaalamu wa hali ya hewa Atsumu Ohmura, waliunda puto za jua kuruka hadi stratosphere ya chini, wakigeuza picha za sinema kwa hesabu kuwa maadili ya sauti kwa ajili ya ufungaji wao Voyages atmosphériques. "Kama ilivyoelezwa hapo juu, ""Observing Human Skies"" ni kamera ya kujisafisha ya anga, ambayo inachukua picha mbili kila sekunde 30." Kifaa cha kupima kimewekwa kimakusudi kwenye paa la jumba la makumbusho, na kuwa rangi zinazobadilika-badilika za anga sehemu ya mkusanyiko wa jumba la makumbusho. Waandishi hao wawili wanajaribu kuchunguza na kupima rangi ya anga kwa maisha yao yote. Kama walivyosema, 'Katika Enzi za Kati, tuliamini kwamba mahali pa Mungu palikuwa mbinguni. Leo, ni lazima tukiri kwamba tuna sehemu katika kuunda anga. Kama mabadiliko yote yanayotokea kwa sababu ya mabadiliko ya hali ya hewa, inatuogopesha. Wakati huohuo, hatuna chaguo ila kuchukua daraka la kile tunachofanya.' Umefanya kazi hapo awali na wanasayansi wa hali ya hewa wakichunguza athari za Anthropocene angani, lakini hawajali mabadiliko yake ya rangi. Ni nini kilichokufanya upendezwe na rangi ya bluu ya anga? Ni nini kinachokuvutia kuhusu hilo? Tulishangaa kwamba rangi ya anga haichunguzwi kisayansi. Watafiti wa hali ya hewa wanadhani kwamba hali ya hewa imebadilika tayari na itaendelea kubadilika wakati ujao. "Reto Knutti, mtaalamu wa hali ya hewa katika ETH Zurich, alisema: ""Nchi hii inaonekana kuwa na rangi ya anga, lakini sio rangi ya anga." Tulidhani kwamba hapa ndipo sanaa inapoweza kufanya kazi. Ni nini kilichokuvutia kwanza katika mazingira ya kisayansi ya maalumu kama CERN? Tulipopokea Tuzo ya [Collide Pro Helvetia], ambayo tulishinda na mradi wa makazi ukipendekeza ushirikiano na Jaribio la CLOUD <unk> hatukujua ni zawadi ya aina gani tuliyopewa. Tunafikiri roho ya ushirikiano haina mfano wa kufafanua maswali ya msingi ya kuwepo kwetu. Tunahisi kwamba wafanyakazi katika CERN wakati mwingine pia siri kufikiri: <unk>What we<unk>re kufanya hapa ni kidogo wazimu<unk>. Vivyo hivyo, tunajua hisia hii vizuri kama wasanii <unk> hata kama mipango yetu na bajeti ni zaidi ya kusimamiwa. Kwa upande mmoja, kile kinachofurahisha katika CERN ni ubora wa wanasayansi na timu nzima. Kwa upande mwingine, ni uvutano wa uvumbuzi wao juu ya utamaduni wetu. Jaribio la CLOUD katika CERN huchunguza uhusiano unaowezekana kati ya miale ya angani ya galaksi na kuundwa kwa mawingu. Ni nini unachokipanga kufanya wakati wa kukaa kwako kwa kushirikiana na watafiti wa CLOUD? Tulipendekeza kutengeneza puto zetu za jua ili ziweze kuelea juu ya wingu. Tunapenda wazo la kujenga kitu ambacho kinakaa kwenye wingu lenyewe. Kusudi pia ni kuwa na uwezo wa kujumuisha baadhi ya vyombo ili kujua zaidi kuhusu mawingu. Kwa mfano, kuna uwezekano wa kupima mnururisho wa cosmic na sensorer ya CERN. Sehemu iliyobaki kwa sasa inazungumziwa. Katika mradi wako kuhusu blueness ya anga, wewe kurejesha Cyanometer, karne ya 18 anga rangi kipimo kifaa, na katika Voyages Atmosphériques, wewe maendeleo baluni jua kupima blueness ya anga, kuonyesha wote wa kiufundi inventiveness na mbinu aesthetic. Ungefafanuaje kazi yako ndani ya mgawanyiko wa jadi zaidi kati ya utafiti wa kisanii na kisayansi? Kuhusu Cyanometer, tulikuwa na nia ya kufanya chombo hicho kiweze kutumiwa tena. Nakala chache zilizobaki zimechakaa na kufifia. "Hawa ni watu wa zamani kama Horace-Bénédict de Saussure, ambaye aliandika kitabu chake cha ""Mipango ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji ya Maji.""" Katika muktadha wa sanaa, kuna mazoezi ya re-enactment <unk> kurudia na reappropriation ya mambo tayari zilizopo. Katika muktadha wa kisayansi, ingefaa kueleweka kuwa jaribio la kihistoria. Ingawa taratibu ni sawa, karatasi ya kisayansi ingetengenezwa katika muktadha wa kisayansi. Kwa ajili yetu, ni kuhusu uzoefu wa hisia ya kuwa na uwezo wa kutumia Cyanometer tena. Kuhusu puto za jua, tulivutiwa na uwezekano wa kutembelea mahali ambapo bluu ya anga huundwa. Katika stratosphere ya chini, ambayo ni juu ya 17 km, 90% ya angahewa imebaki chini. Ukitazama juu kutoka hapo, anga ni nyeusi. Anga, ambapo mwangaza wa jua unaingia na kutawanyika na anga kuwa bluu, ni pumzi ndogo tu inayolala juu ya Dunia. Jinsi ya kuchunguza anga la binadamu 2021 Kwa nini iko juu ya paa la jumba la makumbusho? Ni kazi ya kawaida ya majumba ya makumbusho ya sanaa kukusanya vitu vilivyotengenezwa na wanadamu. """Tunataka kujenga daraja kati ya makumbusho na sayansi na mfululizo wa data kutoka kwa picha za anga zilizochukuliwa angalau kwa miaka 30." Katika Jumba la Makumbusho la Sanaa ya Kisasa la Belgrade, tumeweka mfano wa kwanza wa kamera ya anga yote yenye lensi mbili, yenye kusafisha yenyewe na lensi ya 180 ° ya jicho la samaki, ambayo inachukua picha mbili kila dakika, na itafanya hivyo kwa siku 100. Picha hizo zinabadilishwa kuwa filamu ya dakika 1.2 usiku kucha na kisha kuonyeshwa kwenye skrini katika maonyesho pamoja na video zote za siku zilizopita. Lengo ni kupata data nzuri na yenye thamani ya kutosha, hivyo inaweza pia kutumika kisayansi. Tunashirikiana na wanasayansi mbalimbali ili kufanikisha hilo. "Mimi ninajaribu kuchunguza rangi ya anga kwa miaka 30 ijayo, kwa kuwa kufuatilia anga kunahusisha kushuhudia athari za shughuli za binadamu.""" Utafiti wako umebadilikaje na kuongezeka kwa mgogoro wa hali ya hewa? Unaonaje wakati ujao wa anga? Katika enzi za kati, watu waliamini kwamba Mungu yuko mbinguni. Leo, ni lazima tukiri kwamba sisi wenyewe tuna sehemu katika kuunda anga. Kama mabadiliko yote yanayotokea kwa sababu ya mabadiliko ya hali ya hewa, inatuogopesha. Wakati huohuo, hatuna chaguo ila kuchukua daraka la kile tunachofanya. Kuhusu anga, rangi ingeweza kubadilika katika pande zote mbili. Kwa kupunguzwa kwa uzalishaji wa chembechembe za chokaa zinazotokana na kuchoma mafuta ya visukuku, anga lingekuwa na rangi ya bluu zaidi. Hii tayari imetokea katika Ulaya Magharibi na Amerika ya Kaskazini na kuanzishwa kwa watengenezaji wa catalytic; jambo hilo linaitwa Global Brightening. Kwa mfano, ikiwa China ingefuta ghafla mitambo yake ya umeme inayotumia makaa ya mawe, hali ya hewa ya dunia ingeongezeka kwa takriban miaka mia moja. Kwa sababu ya joto la joto la 0.2 ° C, mwangaza mdogo wa jua utaonyeshwa katika anga. Kwa upande mwingine, watafiti wamekuwa wakifikiria kwa muda mrefu kupunguza mabadiliko ya hali ya hewa kwa kuingiza vipande vya sulfate katika anga ya juu. Kwa njia hii, sehemu ya mwanga wa jua utaonyeshwa na kutawanyika kwake kutabadilika, na hivyo kufanya anga letu kuwa nyeupe zaidi. Ni jukumu gani sanaa ina katika kuendeleza aina mpya za kuelewa mgogoro wa hali ya hewa na kuleta mabadiliko ya paradigm kujenga baadaye baada ya anthropocentric? Tunadhani kwamba enzi ya baada ya anthropocentric itatokea tu wakati wanadamu watakapokufa. Ikiwa sivyo, spishi zetu zitakuwa na jukumu kubwa zaidi kwa mizunguko ya asili na uwezo mdogo wa kuzaliana wa Dunia. Hilo huhitaji badiliko kubwa la kitamaduni. Katika mchakato huu, sanaa inaweza hakika kuinua maswali machache muhimu na kuimarisha ufahamu wa mambo ambayo si katika lengo. Hata hivyo, hatupaswi kupuuza fungu la sanaa. Kama ilivyo na utafiti wa msingi, sanaa ni ya maslahi ya kijamii ya sehemu. Wote wawili wamekuwa daima kutoa ufahamu muhimu na maarifa, ambayo, hata hivyo, mara nyingi tu kufika kwa mainstream baadaye sana. Kuhusu mabadiliko ya hali ya hewa, huenda hata wakafika kwa kuchelewa mno. Ana Prendes, Mtayarishaji wa Mawasiliano na Maudhui Lauren Morello Geoengineering Could Turn Skies White', Scientific American https://www.scientificamerican.comarticle/geoengineering-could-turn-skies-white