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New Ruins. Google Earth Tour ; Manuel Fernández, 2013.

New Ruins. Google Earth Tour

New Ruins. Google Earth Tour is a visual geolocated 3D installation project made in Google Earth in wich the most known ancient ruin models have been remapped and reinstallated in their original places.

Exhibited at:

Transfer 3D Speed show. Internet Navig@tor. Curated by: Małgosia Woźnica and Dominik Podsiadły. Wrocław, Poland 2012 
The Eternal Internet Brotherhood. Curated by Angelo Plessas. Las Pozas Surrealist Park, Xilitla, San Luis Potosi, MX 2013.
What we call sculpture. Cerma. Internet. 2013



New Ruins. Tepozteco. Postcards from Google Earth. PNG Screenshot. 2013. For The Eternal Internet Brotherhood. Mexico

New Ruins. Partenon. Postcards from Google Earth. PNG Screenshot. 2012.

New Ruins. Angkor Wat. Postcards from Google Earth. PNG Screenshot. 2012.

New Ruins. Coliseum. Postcards from Google Earth. PNG Screenshot. 2012.

New Ruins. Machu Picchu. Postcards from Google Earth. PNG Screenshot. 2012.

New Ruins. Pascua Island. Postcards from Google Earth. PNG Screenshot. 2012.

New Ruins. Petra. Postcards from Google Earth. PNG Screenshot. 2012.

New Ruins. Egyptian pyramids. Postcards from Google Earth. PNG Screenshot. 2012.

New Ruins. Stonehenge. Postcards from Google Earth. PNG Screenshot. 2012.

New Ruins. Taj Mahal. Postcards from Google Earth. PNG Screenshot. 2012.

New Ruins. Tikal. Postcards from Google Earth. PNG Screenshot. 2012.

- State of Ruin A Reversed Archeology; Nilsson Pflugfelder, 2013 -

“…The ruin appears to be autonomous, autistic and mute. Simultaneously closed for engagement and, as a result, open for speculation and interpretation. A paradox. A myth. The present heap of crumbling material is waiting, no, it is asking us to decipher it, although this, most likely, is a futile endeavour. The ruin remains silent, but you urge, beg it to speak. Still mute. No answer. Only the wind. A non-riddle perceived as a riddle. A psychological labyrinth…”

Kinga Kielczynska


Open System Model
Open systems have a number of consequences. A closed system contains limited energies. The definition of an open system assumes that there are supplies of energy that cannot be depleted; in practice, this energy is supplied from some source in the surrounding environment, which can be treated as infinite for the purposes of study. One type of open system is the so-called radiant energy system, which receives its energy from solar radiation – an energy source that can be regarded as inexhaustible for all practical purposes.

Project ‘Soft Green Light’ is a field trip to the the area of Kepa Zawadowska in Warsaw, located 5 km from Wilanów on the river bank.
In the 70-ties & 80-ties a boom of the glasshouse business took place here. It was announcing soon to happen economical and political change after year ‘89. This year also marks the end of the glasshouse prosperity. Today lots of them were put down, abandoned or changed its original function. The way the farmers (which were given the disrespectful name of ‘steam man’) were organizing their micro economy in the central (govern) - controlled economy was in fact the economical sabotage of the system from within.
The glasshouse becomes the metaphor of participation, the ability to take one’s own decisions and act in a free, self-ruling way.

foto: kinga kielczynska, bartosz stawiarski

‘While the refusal to participate in order to create an alternate and independent society seems the only option in face of the evidence, participation does hold an equally utopic charm. Boris Groys points out that “a total space of participation is fascinating, even ecstatic and dangerous at the same time.”21 This is evident in all of the micro-inventions in the city today with the intention of doing good. With all of the hyperactivity this entails, it leads us all into an entangled, open-ended and organic movement of collaborators. As this process is overwhelming, we get even more involved: to be inside rather than out, with the hope of making the world a better place. However, one needs to ask: how do we participate? And, for whom? The act of participation should not be about achieving harmony or making the world just a bit better but of providing a shared, symbolic space whereby differences are not smoothed over, but instead exposed. Getting involved is not enough.’

Timothy Moore


This project combines different elements that document the existence of a sacred cult in a primeval forest on the eastern border of Poland. They are a new movement who oppose Darwinian theory; and who believe that people actually derive from plants
and are trying to reverse evolution by living like them. They turn their backs on human civilization and live in houses made of growing plants.
From the cult’s statement:
‘The modern human no longer sees nature as a domain to walk beneath trees, but as an abstract system of impersonal processes, powers and resources. Nature has become a thing, and a thing, as opposed to a plant, is something we can control
and use, completely submissive to our personal needs and desires. We fill it with people, actions, objects, and concepts. In a culture in which everything needs to be controlled and completely accessible, the unknown has become a weakness and the old, the traditional and the repeated has become redundant or purposeless. There exists a notion of complete nakedness as a result of absolute visibility and an absence of shadows. Mystical knowledge is something that we have lost by limiting ourselves to information based on science.
Optimal visibility means unlimited consumption and full availibism. The multitude of simultaneously occurring events and phenomenons, in particular a continuous flow of novelties, cause the modern human to act in a confused and chaotic manner. The possibility of endless choice becomes a curse. It brings consciousness to the realm of the unnecessary. The modern individual has lost their cosmic, moral certainty and their mythical centre and has substituted it with appropriations to fill the missing middle point.
Instead of matching our nature with Nature we cut ourselves out of the bigger universal picture and step into a lonely journey in the cult of individualism.’
‘In the shadow of our culture, we create The Culture That Doesn‘t Exist, the mystical symbiosis of human and nature. The idea of regression as an attitude creates a new order of development. We want to be ruled by the way things are according to
the laws of nature which are organic, as opposed to mechanic. We are the extension of our environment.’

made in collaboration with melanie bonajo

Ève K. Tremblay

Ève K. Tremblay, La poussée des poings hydroponiques (série À la recherche des placebos), 2002, épreuve chromogène, C-print, éd 5, 40″ x 50″

Ève K. Tremblay, La fuite des méandres (série Les dédalles d’Ariane), 2001, épreuve chromogène, C-print, éd 5, 30″ x 30″

Frome here.