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Gustav Heinsen
New work:
The book Uncanny Entrepreneurship has just been published and I’m pleased to say that my text KidZania: Branding a Society is included in the book.
It’s so nice to see something that I spent a long time writing, printed in this book and in such great company of other contributors.
When I first came across KidZania I was fascinated with how the children’s theme park stood out as a bizarre example of how corporations mimic and operate like nation-states and vice versa. KidZania describes itself as a global nation-state, it has its own currency, it has an anthem, a flag as well as other signifiers of a nation-state. The company strives to emulate an operating city with all its social structures and intricacies through collaborating with corporate brands to present day-to-day wage labor as a fun learning experience. What makes KidZania remarkable it that it sets out to be something more than just a regular theme park. Referring to its customers as citizens, portraying wage labor as an educational experience, and constructing an experience according to Western free-market ideals, it brands itself as a social movement that has real political influence. Equating cities, citizenship, and life with working inside the framework of a corporate structure reflect the real-life experience of people all over the world. KidZania has managed to build a successful brand that makes this reality seem fun and educational. Its founder Xavier López has cleverly managed to sell the experience of climbing the ladder of success by hustling away at your nine-to-five job as a meaningful experience.
Going down the rabbit hole of KidZania and discovering the intricacies of its “edutainment” model and the bizarre visual universe has been mind-blowing at times. I hope others will enjoy reading about it all.
The book is available for sale on the website of the publisher @textem
This text was published earlier this year by @do.not.research on their website and can be read there as well. Link in bio.
Big thanks to the editors of the book @konstantinhaensch @nelkner___ @matthiasplanitzer and @carolineballegaard
Design by @nelkner___
New work:
The book Uncanny Entrepreneurship has just been published and I’m pleased to say that my text KidZania: Branding a Society is included in the book.
It’s so nice to see something that I spent a long time writing, printed in this book and in such great company of other contributors.
When I first came across KidZania I was fascinated with how the children’s theme park stood out as a bizarre example of how corporations mimic and operate like nation-states and vice versa. KidZania describes itself as a global nation-state, it has its own currency, it has an anthem, a flag as well as other signifiers of a nation-state. The company strives to emulate an operating city with all its social structures and intricacies through collaborating with corporate brands to present day-to-day wage labor as a fun learning experience. What makes KidZania remarkable it that it sets out to be something more than just a regular theme park. Referring to its customers as citizens, portraying wage labor as an educational experience, and constructing an experience according to Western free-market ideals, it brands itself as a social movement that has real political influence. Equating cities, citizenship, and life with working inside the framework of a corporate structure reflect the real-life experience of people all over the world. KidZania has managed to build a successful brand that makes this reality seem fun and educational. Its founder Xavier López has cleverly managed to sell the experience of climbing the ladder of success by hustling away at your nine-to-five job as a meaningful experience.
Going down the rabbit hole of KidZania and discovering the intricacies of its “edutainment” model and the bizarre visual universe has been mind-blowing at times. I hope others will enjoy reading about it all.
The book is available for sale on the website of the publisher @textem
This text was published earlier this year by @do.not.research on their website and can be read there as well. Link in bio.
Big thanks to the editors of the book @konstantinhaensch @nelkner___ @matthiasplanitzer and @carolineballegaard
Design by @nelkner___
New work:
The book Uncanny Entrepreneurship has just been published and I’m pleased to say that my text KidZania: Branding a Society is included in the book.
It’s so nice to see something that I spent a long time writing, printed in this book and in such great company of other contributors.
When I first came across KidZania I was fascinated with how the children’s theme park stood out as a bizarre example of how corporations mimic and operate like nation-states and vice versa. KidZania describes itself as a global nation-state, it has its own currency, it has an anthem, a flag as well as other signifiers of a nation-state. The company strives to emulate an operating city with all its social structures and intricacies through collaborating with corporate brands to present day-to-day wage labor as a fun learning experience. What makes KidZania remarkable it that it sets out to be something more than just a regular theme park. Referring to its customers as citizens, portraying wage labor as an educational experience, and constructing an experience according to Western free-market ideals, it brands itself as a social movement that has real political influence. Equating cities, citizenship, and life with working inside the framework of a corporate structure reflect the real-life experience of people all over the world. KidZania has managed to build a successful brand that makes this reality seem fun and educational. Its founder Xavier López has cleverly managed to sell the experience of climbing the ladder of success by hustling away at your nine-to-five job as a meaningful experience.
Going down the rabbit hole of KidZania and discovering the intricacies of its “edutainment” model and the bizarre visual universe has been mind-blowing at times. I hope others will enjoy reading about it all.
The book is available for sale on the website of the publisher @textem
This text was published earlier this year by @do.not.research on their website and can be read there as well. Link in bio.
Big thanks to the editors of the book @konstantinhaensch @nelkner___ @matthiasplanitzer and @carolineballegaard
Design by @nelkner___
New work:
The book Uncanny Entrepreneurship has just been published and I’m pleased to say that my text KidZania: Branding a Society is included in the book.
It’s so nice to see something that I spent a long time writing, printed in this book and in such great company of other contributors.
When I first came across KidZania I was fascinated with how the children’s theme park stood out as a bizarre example of how corporations mimic and operate like nation-states and vice versa. KidZania describes itself as a global nation-state, it has its own currency, it has an anthem, a flag as well as other signifiers of a nation-state. The company strives to emulate an operating city with all its social structures and intricacies through collaborating with corporate brands to present day-to-day wage labor as a fun learning experience. What makes KidZania remarkable it that it sets out to be something more than just a regular theme park. Referring to its customers as citizens, portraying wage labor as an educational experience, and constructing an experience according to Western free-market ideals, it brands itself as a social movement that has real political influence. Equating cities, citizenship, and life with working inside the framework of a corporate structure reflect the real-life experience of people all over the world. KidZania has managed to build a successful brand that makes this reality seem fun and educational. Its founder Xavier López has cleverly managed to sell the experience of climbing the ladder of success by hustling away at your nine-to-five job as a meaningful experience.
Going down the rabbit hole of KidZania and discovering the intricacies of its “edutainment” model and the bizarre visual universe has been mind-blowing at times. I hope others will enjoy reading about it all.
The book is available for sale on the website of the publisher @textem
This text was published earlier this year by @do.not.research on their website and can be read there as well. Link in bio.
Big thanks to the editors of the book @konstantinhaensch @nelkner___ @matthiasplanitzer and @carolineballegaard
Design by @nelkner___
New work:
The book Uncanny Entrepreneurship has just been published and I’m pleased to say that my text KidZania: Branding a Society is included in the book.
It’s so nice to see something that I spent a long time writing, printed in this book and in such great company of other contributors.
When I first came across KidZania I was fascinated with how the children’s theme park stood out as a bizarre example of how corporations mimic and operate like nation-states and vice versa. KidZania describes itself as a global nation-state, it has its own currency, it has an anthem, a flag as well as other signifiers of a nation-state. The company strives to emulate an operating city with all its social structures and intricacies through collaborating with corporate brands to present day-to-day wage labor as a fun learning experience. What makes KidZania remarkable it that it sets out to be something more than just a regular theme park. Referring to its customers as citizens, portraying wage labor as an educational experience, and constructing an experience according to Western free-market ideals, it brands itself as a social movement that has real political influence. Equating cities, citizenship, and life with working inside the framework of a corporate structure reflect the real-life experience of people all over the world. KidZania has managed to build a successful brand that makes this reality seem fun and educational. Its founder Xavier López has cleverly managed to sell the experience of climbing the ladder of success by hustling away at your nine-to-five job as a meaningful experience.
Going down the rabbit hole of KidZania and discovering the intricacies of its “edutainment” model and the bizarre visual universe has been mind-blowing at times. I hope others will enjoy reading about it all.
The book is available for sale on the website of the publisher @textem
This text was published earlier this year by @do.not.research on their website and can be read there as well. Link in bio.
Big thanks to the editors of the book @konstantinhaensch @nelkner___ @matthiasplanitzer and @carolineballegaard
Design by @nelkner___
New work:
The book Uncanny Entrepreneurship has just been published and I’m pleased to say that my text KidZania: Branding a Society is included in the book.
It’s so nice to see something that I spent a long time writing, printed in this book and in such great company of other contributors.
When I first came across KidZania I was fascinated with how the children’s theme park stood out as a bizarre example of how corporations mimic and operate like nation-states and vice versa. KidZania describes itself as a global nation-state, it has its own currency, it has an anthem, a flag as well as other signifiers of a nation-state. The company strives to emulate an operating city with all its social structures and intricacies through collaborating with corporate brands to present day-to-day wage labor as a fun learning experience. What makes KidZania remarkable it that it sets out to be something more than just a regular theme park. Referring to its customers as citizens, portraying wage labor as an educational experience, and constructing an experience according to Western free-market ideals, it brands itself as a social movement that has real political influence. Equating cities, citizenship, and life with working inside the framework of a corporate structure reflect the real-life experience of people all over the world. KidZania has managed to build a successful brand that makes this reality seem fun and educational. Its founder Xavier López has cleverly managed to sell the experience of climbing the ladder of success by hustling away at your nine-to-five job as a meaningful experience.
Going down the rabbit hole of KidZania and discovering the intricacies of its “edutainment” model and the bizarre visual universe has been mind-blowing at times. I hope others will enjoy reading about it all.
The book is available for sale on the website of the publisher @textem
This text was published earlier this year by @do.not.research on their website and can be read there as well. Link in bio.
Big thanks to the editors of the book @konstantinhaensch @nelkner___ @matthiasplanitzer and @carolineballegaard
Design by @nelkner___
New work: For the latest group show “Proof of Stake: Technological Claims” initiated by @sden023 and currently on view at @kunstvereinhh, I designed the accompanying publication “Media Organise: A Companion to Technological Objects” edited by #TimonBeyes, #ArminBeverungen, #LisaConrad, @sden023, #ClausPias, and @bettinastein.
This limited edition publication assembles 39 inquiries into the organizational powers of everyday media. Written by students of Time-Based Media at HFBK Hamburg, and of Culture & Organization and Media and Digital Cultures at Leuphana University Lüneburg, the entries investigate how objects are framed as technological and are used to organize life.
Thanks to everyone involved in the making of the publication and to @volkswagenstiftung, @leuphana, @hfbkhamburg, @kunstvereinhh, and @wissenschafftkultur for making it possible. Go see the show and get the book while you can at Kunstverein Hamburg!
New work: For the latest group show “Proof of Stake: Technological Claims” initiated by @sden023 and currently on view at @kunstvereinhh, I designed the accompanying publication “Media Organise: A Companion to Technological Objects” edited by #TimonBeyes, #ArminBeverungen, #LisaConrad, @sden023, #ClausPias, and @bettinastein.
This limited edition publication assembles 39 inquiries into the organizational powers of everyday media. Written by students of Time-Based Media at HFBK Hamburg, and of Culture & Organization and Media and Digital Cultures at Leuphana University Lüneburg, the entries investigate how objects are framed as technological and are used to organize life.
Thanks to everyone involved in the making of the publication and to @volkswagenstiftung, @leuphana, @hfbkhamburg, @kunstvereinhh, and @wissenschafftkultur for making it possible. Go see the show and get the book while you can at Kunstverein Hamburg!
New work: For the latest group show “Proof of Stake: Technological Claims” initiated by @sden023 and currently on view at @kunstvereinhh, I designed the accompanying publication “Media Organise: A Companion to Technological Objects” edited by #TimonBeyes, #ArminBeverungen, #LisaConrad, @sden023, #ClausPias, and @bettinastein.
This limited edition publication assembles 39 inquiries into the organizational powers of everyday media. Written by students of Time-Based Media at HFBK Hamburg, and of Culture & Organization and Media and Digital Cultures at Leuphana University Lüneburg, the entries investigate how objects are framed as technological and are used to organize life.
Thanks to everyone involved in the making of the publication and to @volkswagenstiftung, @leuphana, @hfbkhamburg, @kunstvereinhh, and @wissenschafftkultur for making it possible. Go see the show and get the book while you can at Kunstverein Hamburg!
New work: For the latest group show “Proof of Stake: Technological Claims” initiated by @sden023 and currently on view at @kunstvereinhh, I designed the accompanying publication “Media Organise: A Companion to Technological Objects” edited by #TimonBeyes, #ArminBeverungen, #LisaConrad, @sden023, #ClausPias, and @bettinastein.
This limited edition publication assembles 39 inquiries into the organizational powers of everyday media. Written by students of Time-Based Media at HFBK Hamburg, and of Culture & Organization and Media and Digital Cultures at Leuphana University Lüneburg, the entries investigate how objects are framed as technological and are used to organize life.
Thanks to everyone involved in the making of the publication and to @volkswagenstiftung, @leuphana, @hfbkhamburg, @kunstvereinhh, and @wissenschafftkultur for making it possible. Go see the show and get the book while you can at Kunstverein Hamburg!
These hoodies have always been problematic but the hypocrisy of @souvenir_official posting about educating yourself about racism is just ridiculous considering how they defend the European Union under the slogan “Protect all unions of peace”. The European project is and have always been imperialist and racist. Abolish Frontex. No nations, no borders.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
MINE by Simon Denny just opened at Mona in Hobart, Tasmania.
I had the pleasure of spending the better part of the last year assisting with making this massive exhibition come to life as well as designing the board game Extractor together with Simon Denny. The board game comes with an amazing reader with contributions by Kate Crawford and Vladan Joler, Boaz Levin and Vera Tollmann, Tony Birch, Jarrod Rawlins and Emma Pike and Tiziana Terranova.
First image:
Amazon worker cage patent drawing as virtual King Island Brown Thornibill cage
(US 9,280,157 B2: “System for transporting personal within an active workspace”, 2016) 2019
Part of the press release below:
To ‘mine’ is to extract elements of the earth’s physical materials—but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.
Curated by Jarrod Rawlins and Emma Pike, open until Apr 13, 2020.
Images: Simon Denny, ’Mine’, 2019, installation view at Mona. Ph: Mona/Jesse Hunniford. Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.