Fondation Cartier pour l’art contemporain, Paris recently published EXIT , a book that documents intentions and processes behind the immersive installation of the same name, through previously unpublished photographs, essays, interview, context pieces, and richly rendered maps and visualizations.
Global populations are unstable and on the move. Unprecedented numbers of migrants are leaving their home countries for economic, political, and environmental reasons. “Exit” was created to quantify and display this increasing global trend. — excerpt from description, DS+R
EXIT is an immersive installation visualizing human migrations, as well as deforestation and the loss of languages around the world. — Fondation Cartier
Commissioned by Fondation Cartier pour l’art contemporain for the 2008 exhibit Native Land, Stop Eject, the project was co-created by philosopher and urbanist Paul Virilio, architects Diller Scofidio + Renfro, architect-artist Laura Kurgan, statistician-artist Mark Hansen and artist-designer Ben Rubin in partnership with scientists Bruce Albert, François Gemenne, and François-Michel Le Tourneau.
Adam Nadel’s photographs have often captured the missed by looking closely whether it was the poignant portraits from the Bosnian War, or illustrating the impact of malaria or the New York Times pulitzer prize nominated collection ‘The Face of Sacrifice’ depicting the Iraq war. More recently, he documented politics of water in the everglades.
As the 2018 Artist-in-residence at Fermilab, Nadel has ventured into working with data to look even closer. It is an attempt to capture the people that power the lab as well as ‘subatomic world they are directly or indirectly engaged’ with and, to make accessible the ‘world of particle physics by artistically documenting the lab’s personnel, scientific architecture, and the creative practices’.
Symmetry magazine documented the work’s process that Nadel said showcases “people connecting and networking, and their relationship to that place.”
“What became real to me,” Nadel says, “is both how small the things that are being investigated are—in terms of weight, size, charge, etc.—and the incredibly short duration of time they are being measured for. And it became immediately obvious there was just no way I was going to be able to artistically wrestle with those things with a still camera.”
Nadel’s use of data in his artistic process is particularly interesting. He used data from a Fermilab experiment called ‘MicroBooNE’ that recorded neutrino interactions and transcribed it at 3-microsecond intervals to create a sound ‘visualization’, a 265 note musical score.