A Letter to Tracey Emin

This is a guest post by Bonnie Golightly.

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Tracey Emin “My Bed,” Installation, 1998

Dear Tracey,

I know you’ve come in for quite some stick for “My Bed.” Is that really art? Anybody could have done that! How was that shortlisted for the 1999 Turner Prize? etc. etc. I have to admit I was a bit baffled myself. (Was it really worth that much?) But as I tootled happily around Tate Britain the other day, I happened upon “My Bed.” I found myself intrigued, then mesmerised and ultimately quite moved.

The blurb on the wall says “By virute of bringing the domestic into the public sphere without directly representing specific events, the installation is forcefully and compellingly suggestive of personal narratives.” I’ll say! I stood and looked. I walked around. I then realised that “My Bed” was boring into my heart. The mess of the soiled sheets together with the bedside scut of discarded underwear, fluffy toys, well-worn slippers, vodka, cigarettes and KY recalled a whole raft of good, bad, sad and indifferent moments of my life. So many things and times I might – or might not – want to leave behind! And then, to my surprise, I found the sad, saccharine squalor of it all quite eye-watering. In fact, it made my day. So, thank you, Tracey. I hope you’re doing OK now.

Lots of love,

Bonnie

PS I really went to Tate Britain to see the Frank Auerbach exhibition. Not my cup of tea!

PPS As you know, “My Bed” is installed next to two Francis Bacon paintings and a series of your own drawings. I’ve never liked FB’s paintings.

PPPS I need help with your drawings.

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Tracey Emin “I could feel you” Gouache on paper, 2014

Geneva International Motor Show: Bugatti is the big celebrity!

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OK. I’m not a car person. But I am fascinated by the Geneva International Motor Show. It’s not just the cars. It’s such a sumptuous feast of gorgeous luxy design. It’s also quite an event for people-watching.

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Take a look at Bugatti’s Chiron! It has no equal. Sixteen cylinders with 8 litre capacity; top speed is 425kph; 1,500hp; and it’s priced at a cool $2.6 million! I’m not sure if it’s a car, a “work of art” or a celebrity. Whatever, the admirers crowd around, iPhones at the ready.

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Is it all status-life-style dreaming? Or can a car grab our attention like a celebrity? You’d think so. And it must be a guy thing. Not a single woman taking a photo! It seems that the Y chromosome is alive and well at this year’s show and is fascinated by new and expensive ways to cruise the chicks!

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On a more sobre and less testosterone charged front, I am one of many captivated by Nissan’s IDS Concept. This is the first driverless car I’ve seen. No steering wheel; just a touchscreen. I adore the lines, colours and the sleek wooden interior trim. It makes me feel future-happy.

Thousands upon thousands of people come to Geneva for this event. Whether or not cars are your thing, it’s worth a visit. It’s testament to the enduring fascination that man (!) has for automobiles and how some even have celebrity status.

Big Bang Data

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If you visit only one exhibition this year, make sure it’s Big Bang Data at London’s Somerset House. Believe me! You have to go! I struggle to find the words to describe it. I get half-way there with “brilliant,” “admirable,” “vitally informative,” “challenging,” “jaw-dropping,” and “mind-boggling.”

The central theme is “big data.” It really is BIG! (Or should I say, they really are BIG?) The digital data universe is massive, globally connected and expanding exponentially. The ingenious and interactive displays of this beautiful exhibition focus on the technology and implications of what will prove to be one of the most important developments of the twenty-first century. The exhibition demonstrates how corporations, authorities and hackers can collect and analyse data about the environment, businesses and particularly us. It is at once wonderful and concerning. Big data has arrived uninvited and unannounced but is here to stay. It is already transforming our society, culture, security and politics. It is the human future as was electricity, air travel and television.

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Telegeography, “Submarine Cable Map” 2015

A floor map shows the undersea cables that connect thousands of vast, impeccable and impersonal data storage banks. The cables and databanks are each the property of different corporations. Voila! “The Cloud!” (As the exhibitors point out, this is a misleading term. A cloud in the sky cannot be divided up according to different owners. Except for satelites, most of the physical infrastructure of The Cloud is on the ground or under water. There is no clear blue sky on the other side!)

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Thompson and Craighead, “Horizon” Digital collage from on-line sources 2015

An elegant and benign manifestation of the possible is given by Thompson and Craighead’s “Horizon.” This displays a narrative clock made from real-time, constantly updated images from webcams around the world.

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Rafael Lozano Hemmer, “Zero Noon” Software 2013

Rafael Lozano Hemmer’s “Zero Noon” is an unconventional digital clock fuelled by internet-refreshed statistics. It tells the time based on metrics such as hamburgers sold in Detroit or the number of animal species becoming extinct per day. At midday, the clock is reset to zero with display of a new statistic. At 14.30, it tells me that prostitution in the UK has turned over the equivalent of US$64,210 in the previous two and a half hours.

Among the 51 other displays, “Unaffordable Country” by the Guardian Newspaper is an interactive data visualisation that exposes the UK’s dire housing crisis. On entering their salary and postcode, around 96% of participants find that there is no affordable property in their vicinity. Paolo Cirio and Alessandro Ludovico use “Face to Facebook” to show how they stole a million personal profiles on Facebook to create characters on a false dating website, Lovely-Faces.com, classifying them by their facial features. With “Stranger Visions,” Heather Dewey-Hagborg has 3D printed human faces based on DNA that she obtained from objects such as chewing gum and cigarette butts collected in public places.

What I learn is that the volume of data generated by our everyday lives is booming in lockstep with the capacity to analyse it. Those who are in a position to harvest and use this data are in an increasingly powerful position to influence us individually and collectively. A fundamental physical tenet is that power without control can only be dangerous. Does it apply here? Do we have the wisdom to harness the power of big data responsibly?

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EasyJet, Safety On Board, Laminated plastic card

I am on an EasyJet flight out of London and can’t help reflecting on what big data will mean for future generations. Next to me is a little girl of about three years. What will she make of it all as an adult? Unwittingly she tells me. From the seat pocket in front of her, she picks out the laminated Safety On Board card. She looks carefully at the shiny surface and stabs her little index finger into the icons assuming that the card will come to life and reveal something more interesting. She tries again. “Not working!” she cries out to her mother. I realise that big data will be a part of her life and that she will be no more concerned about it than I am concerned about electricity, air travel and television. I wish her well.