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Joan Jones

Born New York City, July 13 1936 -, is a groundbreaking multimedia artist, who is being celebrated for her outstanding work in performane, installation, and video since the 1960’s. Between 1954 and 1958 she studied sculpture and art history at Mount Holyoke College in South Hadley, Massachusetts. After graduating with a BFA (the most prestigious bachelors degree that you can receive in visual arts) and traveling in Europe, she began studies in sculpture at the School of the Museum of Fine Arts - Boston, and at Columbia University - New York, where she received an MFA in 1964.

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Chosen Works

«MOVING OFF THE LAND II»

(2019)

 

In the installation «Reanimation» (2012) Jonas focused on Iceland and Norwegian landscapes and their representations in age old sagas, as well as in the writing of the poet Halldor Laxnnes, resulting in an ecocative margins of air, land, glaciers, and sea. The oceans are a recurring theme in Jonas’s work, often presenting the danger of climate change and extinction.

 

“Moving Off the Land II” (2019) is the culmination of three years of intensive research in aquariums around the world as well as in the waters of the coast of Jamaica. She pays tribute to the oceans and their creatures, biodiversity, and delicate ecology. The marine biologist and coral reef and photosynthesis expert David Gruber has shared with Jonas his captivating underwater recordings that focus on bio fluorescence - all accompanied by sound and music by internationally acclaimed musicians and composers. Jonas’s own voice is heard as she narrates an anecdote about an octopus in the New England Aquarium in Boston, who every night lifted the lid of his enclosure, climbed out and into another tank to catch fish, then returned unnoticed. In another sequen- ce, she focuses on the mythology of mermaids. 

In conjunction with Jonas’ exhibition, select archival and research materials relating to the project, including interviews with the artist, will be accessible through the new digital platform Ocean Archive (oceanarchive.io). Launching in complete form in September 2019, this “colaboratory” is being developed by User Group Inc. to operate at the intersection of scientific inquiry, artistic intelligence, and environmental advocacy.

Following the closure of Moving Off the Land II, Ocean Space will undergo additional work on its interior to create a dynamic structure of platforms and flexible spaces, designed by architect Andrés Jaque from the “Office for Political Innovation”. Ocean Space’s program will relaunch next spring, with work on its interior design expected to be completed over the next two years. 

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Scientific background

ANCIENT TRADITIONS

It is not until late 19th century (The 1800s) that the number 13 is talked about as a sign of bad omen. Judas is by Christians considered to be the 13th person to sit down at the table during the Last Supper. He is also the same person who went to the chiefs priests and agreed to hand over Jesus in exchange for 30 silver coins. In Norse mythology the number 13 is also considered to be a number for bad predictions. Baldur, who was loved by all the gods, goddesses, and beings of a more physical being - so handsome, gracious, and cheerful that he actually gave off light, got betrayed by the guileful trickster Loki. Loki convinced the blind god Hodr to throw a spear that he (Loki) had made from Frigg’s (Baldurs mother) mistletoe. In an online news article dated Friday 13th Jan 2017, Arne Pedersen, chairman of the Norwegian Costal fishing bo- ard explains how the number 13, even to this date, by many is considered to be a sign of bad prediction, especially if the date appears on the same day as a Friday - “you’ll get a comment from one of the locals...”, “doing fishing on a Friday is a no go, especially on Friday the 13th. If you catch some, you should at least release the first one in order to avoid an accident. Further he speculates if its just an excuse for a longer extra weekend. Fishing, hunting of sea mammals and sea birds, and the collecting of shellfish and sea-bird eggs were all features of Scandinavian subsistence economies far back into prehistory. Most Nordic farmers of the later Iron Age probably spent as much time aboard a boat as behind a plough. 

Rock carvings of halibuts have been found in coastal areas in Rogaland, Trøndelag, Nordland and Finnmark, dating 7,000 years back. In Norse mythology, the halibut was a symbol of the white, mild god Baldur. And more than 10,000-year-old rock carvings show that halibut was also highly regarded in the Stone Age. Throughout history, it has been referred to as «The Queen», «The Godfish» and also the sacred fish, which symbolized fertility. Even today the halibut is an extremely sought fish that marks special and festive occasions and valued guests. 

The Greenland halibut (Reinhardtius hippoglossoides) is a deep water, flatfish. It is closely related to the Atlantic halibut (Hippoglossus hippoglossus), but there are slight differences in size and color. The Greenland halibut has a variety of other English vernacular names including “blue halibut” (common Norwegian name). 

 

The left eye has migrated during the fish’s development so that it is on the right side of the head. However, in this fish, it has not moved as far as in bottom-dwelling flatfish and the fish can probably see forwards. The Greenland halibut is an arctic species which is found at depths ranging between about 200 and 2,000 meters, mainly between 500 and 1000m, and is found in the North Atlantic and North Pacific oceans. In the North Atlantic it occurs from England to northern Norway, Faroe Islands, Iceland and eastern Greenland in the east and from Newfoundland to north-western Greenland in the west. It’s rarely found in water above 4°c. 

STOCK

Historically, the stock decreased dramatically in the 1970s, and quota adjustments were introduced in 1977. In 1978, the Norwegian quota was set to 40,000 ton, while in 1980 it was set to 14,000. In 1992 fishing for Greenland halibut was prohibited, with the exception of research fishing and limited Norwegian costal fishing. The catchable amount of Greenland halibut, defined as fish that is 45 cm or longer, has increased sin- ce then, but has declined since 2014. This indicates that the catch rate, which has been relatively stable since 1992, has not been too high, but shouldn’t be increased either. The ban on direct fishing for Greenland halibut was lifted in 2010. The joint Norwegian-Russian Fisheries Commission agreed on a distribution key for Greenland halibut in 2010, which means that Norway have a 51% share, Russia 45% share and 4% share are allocated to “other” countries for fishing in the fishery protection zone at Svalbard. 

 

Both Greenpeace, World Wildlife Fund (WWF) and Artsdatabanken (Specimen databases) have listed both the Atlantic halibut and Greenland halibut to stage RED, meaning preconditions should be kept. WWF’s (Norway) official statement states the following: “The knowledge of the Greenland Halibut stock is insuffici- ent and the marine scientists recommend that it only be fished for precautionary management. The quotas are set higher than the scientific advice, at the same time even more than the allowable quotas are being fished. 

POLLUTION 

There are major concerns about the amount of organic pollutants in the halibut (as well as in other fish). Reports from The Institute of Marine Research have concluded that the amount of pollutants such as PCS and mercury are extremely high - even though the results are shifting from time to time. The Institute of Marine Research (IMR) conducts long-term monitoring of pollution in Norwegian costal and marine areas. Particular focus has been on measurements of components related to fossil fuels such as oil and coal, long-time degradable organic pollutants and radioactive elements. 

PCBS AND PESTICIDES IN MARINE ORGANISMS

PCBs and pesticides are chlorinated foreign substances (organic pollutants) that can be be toxic to humans and animals. The foreign substances have barely any natural origin, and most come from heavy industry and other hu- man-related activities. The substances can be absorbed by fish and other organisms in the marine environment and collected in fatty bodies, such as in fish. Although most of these substances are now banned from using and produ- cing in Norway and many other parts of the world, they are still found in nature, even in remote and relatively untou- ched areas such as the Barents Sea. This is due to their low rate of degradation (persistence) which allows them to remain in the wild for a very long time. The pollutants are carried with ocean and air currents and -read throughout the world. 

RADIOACTIVE POLLUTION IN FISH AND OTHER MARINE ORGANISMS

(in the North Sea and the Barents Sea)

In 2009, Cs-137 was collected and analyzed in amphipods, Greenland halibut, flounder, haddock, hake, krill,, cape- lin, polar cod, shrimp e.g.. The highest concentration (0.2 Bq / kg fresh weight) was measured in Greenland halibut, gap founder, cod and saithe - all bottom-dwellers (demersal fish). 

 

 

MERCURY

Mercury is (commonly) a waste material found in consumer goods such as lightbulbs (fluorescent light), mirrors, cosmetics, firearms, and is historically also used in medicine, e.g. Analyzes of mercury in 65 Greenland halibut from the Barents Sea, conducted by the IMR, show exeedances in 7 fish compared to the EU’s upper limit of 0.5mg / kg wet weight. The results show that there may be a correlation between the size of Greenland halibut and mercury content. It is known that the mercury content increases with the weight and age of individuals who grow old. Greenland halibut grows very late and fish weighing 3.5 - 4.5 kg can be more than 30 years old. Fish with mercury concentration above the EU’s upper limit are most likely old individuals. 

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Methods

During her performance “Moving Off the Land” (2016 - ongoing) she creates drawings with a brush on a ninety-centimeters-long stick with Japanese ink on pre-cut pieces of paper laid out on the floor - the sketches are made in fast and decisive movements, often in less than thirty seconds. 

 

STUDENT RESEARCH 

Trying to understand how traditional ink works on paper, have been a basis for the student research. The ink tends to bleed unless proper paper is being used. 50% water and 50% ink makes a good economical mix for use on 300 g/m2 cotton paper. Working with ink is in certain ways similar to how aquarelle paint works, because how you move the brush, and what pressure you use will affect the color depth. 

A series of 10-20 second drawings, using a brush have been made in a notebook (A6), followed by writing a narrative text that is connected to the drawings and addresses the topic in the previous phase. * See “A story - in frames, The sacred tale 

Inspired by Joan Jonas’s work, 13 circular drawings (15cm radius) using a brush and ink were made on a 300 g/m2 cotton paper. As a way to explore multiple mediums the whole sequence was done as a “perfor mance” and being recorded, using a cellphone camera. 

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Keywords

References and links

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