The Stormy Ice Mountain Sabotage Mission of the Secret Electronic Transmission Technician

Nathan Carter
November 23 – December 21, 2013

A CLOSE UP VIEW OF THE ANTENNA STRUCTURE, COMMUNICATION CABLE AND THE GIANT DATA COLLECTION CONDUIT FUNNELS AND FUNICULAR TRAM CABLE-CAR STATIONS., 2013

 

IN DATA COLLECTION CITY A PRECARIOUS SYSTEM OF CABLES, WIRES AND, SUPPORTS CONNECT THE LISTENING ANTENNAS TO THE DATA CONDUIT FUNNELS., 2013

 

THE AREA AROUND THE SÜD TIROL ELEVATED TOWER TRAM SYSTEMS IS NOW THE SHADOWY LOCATION OF PIRATE RADIO CITY. IT IS THOUGHT THE SABOTEUR MAINTAINED A SAFE HOUSE HERE AMONG THE PIRATES., 2013 

 

STRONG HIGH ALTUDE STORMS AT THE PEAK OF SISTER 3 DURING THE SUMMER MONTHS WERE THE FIRST OMINOUS WARNINGS OF ARTIFICIAL ELECTRONICALLY ALTERED WEATHER ABERRATIONS., 2013 

 

THREE POWERFUL LISTENING ANTENNAS ARE LOCATED INSIDE A REMOTE ICE CAVE ON ALPINE SISTER 5 (FIVE), 2013 

 

From left to right

All works: Acid-free Manila paper, pencil, ink, acrylic and enamel paint 

 

The drawings explore a fictional surveillance and data collection scenario set in natural settings that are transformed by dystopian industrial developments. Resembling newspaper captions, the titles tell the story behind the works. 

 

Photo © Andrea Rossetti

Diptych 2: Storm Shear Winds And Ice Caused Damage To The Outer Conning Towers And The Complete Evaporation Of Lower Level Surveillance Centers And Reports Of Widespread Electrical Damage.; The First Blasts Of Super Cell Wind Shear Knocked Out The Advance Warning Beacons In The Upper Slopes. Antenna Structure Still Intact And Collecting., 2013
Acid-free Manila paper, pencil, ink, acrylic and enamel paint
2 parts
 
Photo © Andrea Rossetti

Triptych (left)

SISTER ONE AND SISTER TWO AT DAY BREAK. TEMPORARY ANTENNA SYSTEMS ARE RECEIVING LOUD AND CLEAR.

Triptych (center) 

DOUBLE CHARGED BATTERIES ON DEATH ISLAND ARE SUPPLYING TEMPORARY POWER WHILE THE HIGH ALTITUDE RESISTORS ARE EXPLODING.

Triptych (right) 

SISTER THREE AND SISTER FOUR ARE STRUGGLING TO FIND SIGNAL ON THE L2 ELEVATED RECEIVING TOWER. THE L3 TOWER IS KAPUT-FRIED., 2013

 

All works: Acid-free Manila paper, pencil, ink, acrylic and enamel paint 

 

The drawings explore a fictional surveillance and data collection scenario set in natural settings that are transformed by dystopian industrial developments. Resembling newspaper captions, the titles tell the story behind the works. 

 

Photo © Andrea Rossetti

Triptych (left)

TRIPTYCH 1: SISTER ONE AND SISTER TWO AT DAY BREAK. TEMPORARY ANTENNA SYSTEMS ARE RECEIVING LOUD AND CLEAR.; DOUBLE CHARGED BATTERIES ON DEATH ISLAND ARE SUPPLYING TEMPORARY POWER WHILE THE HIGH ALTITUDE RESISTORS ARE EXPLODING.; SISTER THREE AND SISTER FOUR ARE STRUGGLING TO FIND SIGNAL ON THE L2 ELEVATED RECEIVING TOWER. THE L3 TOWER IS KAPUT-FRIED., 2013
Acid-free Manila paper, pencil, ink, acrylic and enamel paint
3 drawings
 
Photo © Andrea Rossetti
Triptych (center)
TRIPTYCH 1: SISTER ONE AND SISTER TWO AT DAY BREAK. TEMPORARY ANTENNA SYSTEMS ARE RECEIVING LOUD AND CLEAR.; DOUBLE CHARGED BATTERIES ON DEATH ISLAND ARE SUPPLYING TEMPORARY POWER WHILE THE HIGH ALTITUDE RESISTORS ARE EXPLODING.; SISTER THREE AND SISTER FOUR ARE STRUGGLING TO FIND SIGNAL ON THE L2 ELEVATED RECEIVING TOWER. THE L3 TOWER IS KAPUT-FRIED., 2013
Acid-free Manila paper, pencil, ink, acrylic and enamel paint
3 drawings
 
Photo © Andrea Rossetti
Triptych (right)
TRIPTYCH 1: SISTER ONE AND SISTER TWO AT DAY BREAK. TEMPORARY ANTENNA SYSTEMS ARE RECEIVING LOUD AND CLEAR.; DOUBLE CHARGED BATTERIES ON DEATH ISLAND ARE SUPPLYING TEMPORARY POWER WHILE THE HIGH ALTITUDE RESISTORS ARE EXPLODING.; SISTER THREE AND SISTER FOUR ARE STRUGGLING TO FIND SIGNAL ON THE L2 ELEVATED RECEIVING TOWER. THE L3 TOWER IS KAPUT-FRIED., 2013
Acid-free Manila paper, pencil, ink, acrylic and enamel paint
3 drawings
 
Photo © Andrea Rossetti

A CLOSE UP VIEW OF A HIGH ALTITUDE MOBILE COVERT LISTENING STATION OPERATING IN THE AUSTRALIAN ALPS NEAR THE PEAK OF SISTER TWO., 2013

 

A CLOSE UP VIEW OF A HIGH ALTITUDE MOBILE COVERT LISTENING STATION OPERATING IN THE SÜD TIROL REGION., 2013

 

A CLOSE UP VIEW OF A HIGH ALTITUDE MOBILE COVERT LISTENING STATION OPERATING AT AN UNDISCLOSED LOCATION IN THE FRENCH ALPS., 2013

 

Diptych (left)

SURVIVING PERSONNEL BUILD EMERGENCY HOUSING BY REPURPOSING THE WRECKAGE AFTER THE SABOTAGE BLAST. TEXAS BASED BLACK-OPS-POST CONFLICT RECONSTRUCTION TEAMS ARRIVED ON SLEDS.

Diptych (right)

AT 4:02 THE ARCTIC ALPINE SILENCE WAS SHATTERED BY AN ENORMOUS EXPLOSION. THE ENTIRE DATA COLLECTION ANTENNA STRUCTURE AND THE HIGH ALTITUDE SURVEILLANCE BUNKERS RAINED DOWN. THE ACT OF A SABOTEUR CAUSED CATASTROPHIC DAMAGE., 2013

 

DATA COLLECTION CITY IS LOCATED ALONG THE SHORES OF THE MYTHICAL NORTHERN PASSAGE. ARCTIC SEA SMOKE FLOATS THROUGH THE BUILDINGS AND TRAM TRACKS LIKE GHOSTS IN THE NIGHT., 2013 

 

From left to right.

All works: Acid-free Manila paper, pencil, ink, acrylic and enamel paint 

 

The drawings explore a fictional surveillance and data collection scenario set in natural settings that are transformed by dystopian industrial developments. Resembling newspaper captions, the titles tell the story behind the works. 

 

Photo © Andrea Rossetti

THE AREA AROUND THE SÜD TIROL ELEVATED TOWER TRAM SYSTEMS IS NOW THE SHADOWY LOCATION OF PIRATE RADIO CITY. IT IS THOUGHT THE SABOTEUR MAINTAINED A SAFE HOUSE HERE AMONG THE PIRATES., 2013
Acid-free Manila paper, pencil, ink, acrylic and enamel paint
 
Photo © Andrea Rossetti

The Stormy Ice Mountain Sabotage Mission of the Secret Electronic Transmission Technician

Nathan Carter
November 23 – December 21, 2013
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Esther Schipper is pleased to announce Nathan Carter’s fourth solo exhibition at the gallery.

 

Nathan Carter presents twenty new drawings that explore a fictional surveillance and data collection scenario set in both natural and dystopian industrial environments. The twenty drawings are presented as single works, diptychs, and triptychs, and are inscribed with titles communicating the story behind each piece. In the drawings, one encounters a world filled with complex covert listening stations, interception antennas, and data-mining bunkers, all situated in remote alpine and coastal landscapes. The works depict cityscapes called Data Collection Cities crisscrossed by wires, cables, conduits, and funnels, that are all shrouded in arctic sea smoke. These secret surveillance sites appear to struggle with dangerous arctic weather conditions and from the threat of industrial saboteurs hiding in abandoned sodium-strychnine mining tunnels connected to Pirate Radio City, a nearby urban encampment of radical subversive activity.

 

The drawings begin as sublime natural landscapes and are then invaded by lines representing human intervention. The cities quickly become a disorganized, unregulated, and mutating urban organism. Drawings of towering antennae and hastily-built industrial expansion reflect the way these structures intrude and invade mountains, valleys, and coastlines—reminiscent of existing nuclear power plant incidents, resource extraction controversies, and the rabid growth of mobile communications infrastructure.

 

Sculptures, drawings, paintings, and collages by Nathan Carter fuse an abstract visual language with semi-fictional narratives that touch upon poignant contemporary topics. In his previous works, the artist has creatively addressed complex systems like urban traffic networks, non-verbal communication signals, use of radio transmission technologies, and historic incidents of nautical and aeronautical transportation. Dealing with representations of real and imagined geographic sites and communication networks, Carter’s works often take the form of abstracted maps and landscapes. The complex networks of drawn lines and brightly colored shapes represent intrusive human activity. Descriptive titles provide keys to the complex story lines and narrative interconnections underlying the works.

 

Nathan Carter’s drawings visualise activities that are meant to be secret and invisible. The question can be asked about the difference between the invented world of the drawings and evolvement of real world affairs.

 

The exhibition is supplemented by a publication that includes images of the drawings and a supporting text.

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