Art of The Prank
“Media Prank” and “Culture Jamming” were the main anti-media countercultural tactics. Skaags was the “grandfather” of the so-called “media hoax“. Long before discussions of “fake news” or “memes” , he used lying and manipulation against the corporate media itself, producing funny, cynical and ironic effects. He made the mainstream media experience its own poison over and over again.” Wilson Roberto Vieira Ferreira
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“Media Prank” und “Culture Jamming” waren die wichtigsten anti-medialen gegenkulturellen Taktiken. Skaags war der “Großvater” des sogenannten “Medienhoax”. Lange bevor er über “Fake News” oder “Meme” diskutierte, setzte er Lügen und Manipulationen gegen die Konzernmedien selbst ein und erzeugte lustige, zynische und ironische Effekte. Er ließ die Mainstream-Medien immer wieder ihr eigenes Gift erfahren.” Wilson Roberto Vieira Ferreira
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“Media Prank” (pegadinhas) e “Culture Jamming” (trolagens) foram as principais táticas contraculturais antimídia. Skaags foi o “avô” dos chamados “media hoax”. Muito tempo antes das discussões sobre “fake news” ou “memes”, ele usou a mentira e a manipulação contra a própria mídia corporativa, produzindo efeitos engraçados, cínicos e irônicos. Fez por inúmeras vezes a grande mídia experimentar seu próprio veneno.” Wilson Roberto Vieira Ferreira

Omelia Contadina
‘Omelia Contadina’ was born out of JR’s interest in the difficulties encountered by a large number of small farmers and inhabitants of rural italy. Alice Rohrwacher explains the origins of the project: ‘last autumn, during a walk on the border between Umbria, Lazio and Tuscany, I told my friend and artist JR of my concerns about the destruction of the agricultural landscape, violated by the intensive monocultures with which major corporations are shaping entire territories. I told him, as the daughter of a beekeeper, of the mass death of insects that such changes bring about… At one point, we stopped at a crossroads: on all sides, uninterrupted rows of hazelnut trees filled the landscape as far as the horizon. As we looked upon this, we commented to each other that it looked like a war cemetery. On the way back we decided — if it looks like a cemetery, we have to hold a funeral. But it must be a funeral full of life!‘

Dis-Armor Project

Dis-Armor is the newest in a series of psychocultural prosthetic equipment designed to meet the communicative need of the alienated, traumatized, and silenced residents of today’s cities. It connects contemporary research in two fields: wearable communi- cation technology and prosthetics. In doing so, it counters the dichotomy of the present explosion in communication technology and rampant cultural miscommunication. Dis-Armor offers an opportunity for indirect, mediated communication by allowing its users to speak through their backs. LCD screens, worn on the back, display live images of the wearer’s eyes transmitted from cameras installed in the helmet covering the face. A speaker positioned below the LCD screens amplifies the user’s voice. Attached to the helmet is a rearview mirror, alternatively, a rearview video camera, monitor, microphone, and headphone. These permit the user to see the face and hear the words of the spectator/interlocutor standing behind. Wireless video equipment installed in the helmet further allows two users to work in tandem, showing each other the other’s eyes and broadcasting to each the other’s voice.