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Ninety Percent of Everything innavigazione sulle navi container del Gruppo Grendi con @fishtank.zip @simonelezzi e @stellareprod

Crediti:

un progetto di @uboot.lab
in collaborazione con @palazzoducalegenova
con il contributo di @itinerariparalleli , @necessity.ink , @theheathstudio
con il patrocinio dell’Observatoire des publics et des pratiques de la culture – MESRI/AMU
con il sostegno di @gruppogrendi1828

con il sostegno di @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curatela di Maria Pina Usai @_mpu
supervisione scientifica @francesca.garaventa
artisti mentor @stellare @tiz.alocci
design sistemico @itinerariparalleli
ricerca fotografica @simonelezzi
identità visiva @nomdeplume_studio
coordinamento organizzativo Marina Fanari @marinafiii
ufficio stampa @ucstudio.it

Ninety Percent of Everything innavigazione sulle navi container del Gruppo Grendi con @fishtank.zip @simonelezzi e @stellareprod

Crediti:

un progetto di @uboot.lab
in collaborazione con @palazzoducalegenova
con il contributo di @itinerariparalleli , @necessity.ink , @theheathstudio
con il patrocinio dell’Observatoire des publics et des pratiques de la culture – MESRI/AMU
con il sostegno di @gruppogrendi1828

con il sostegno di @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curatela di Maria Pina Usai @_mpu
supervisione scientifica @francesca.garaventa
artisti mentor @stellare @tiz.alocci
design sistemico @itinerariparalleli
ricerca fotografica @simonelezzi
identità visiva @nomdeplume_studio
coordinamento organizzativo Marina Fanari @marinafiii
ufficio stampa @ucstudio.it

Ninety Percent of Everything innavigazione sulle navi container del Gruppo Grendi con @fishtank.zip @simonelezzi e @stellareprod

Crediti:

un progetto di @uboot.lab
in collaborazione con @palazzoducalegenova
con il contributo di @itinerariparalleli , @necessity.ink , @theheathstudio
con il patrocinio dell’Observatoire des publics et des pratiques de la culture – MESRI/AMU
con il sostegno di @gruppogrendi1828

con il sostegno di @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curatela di Maria Pina Usai @_mpu
supervisione scientifica @francesca.garaventa
artisti mentor @stellare @tiz.alocci
design sistemico @itinerariparalleli
ricerca fotografica @simonelezzi
identità visiva @nomdeplume_studio
coordinamento organizzativo Marina Fanari @marinafiii
ufficio stampa @ucstudio.it

Ninety Percent of Everything innavigazione sulle navi container del Gruppo Grendi con @fishtank.zip @simonelezzi e @stellareprod

Crediti:

un progetto di @uboot.lab
in collaborazione con @palazzoducalegenova
con il contributo di @itinerariparalleli , @necessity.ink , @theheathstudio
con il patrocinio dell’Observatoire des publics et des pratiques de la culture – MESRI/AMU
con il sostegno di @gruppogrendi1828

con il sostegno di @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curatela di Maria Pina Usai @_mpu
supervisione scientifica @francesca.garaventa
artisti mentor @stellare @tiz.alocci
design sistemico @itinerariparalleli
ricerca fotografica @simonelezzi
identità visiva @nomdeplume_studio
coordinamento organizzativo Marina Fanari @marinafiii
ufficio stampa @ucstudio.it

Ninety Percent of Everything innavigazione sulle navi container del Gruppo Grendi con @fishtank.zip @simonelezzi e @stellareprod

Crediti:

un progetto di @uboot.lab
in collaborazione con @palazzoducalegenova
con il contributo di @itinerariparalleli , @necessity.ink , @theheathstudio
con il patrocinio dell’Observatoire des publics et des pratiques de la culture – MESRI/AMU
con il sostegno di @gruppogrendi1828

con il sostegno di @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curatela di Maria Pina Usai @_mpu
supervisione scientifica @francesca.garaventa
artisti mentor @stellare @tiz.alocci
design sistemico @itinerariparalleli
ricerca fotografica @simonelezzi
identità visiva @nomdeplume_studio
coordinamento organizzativo Marina Fanari @marinafiii
ufficio stampa @ucstudio.it

→ NPoE / FISH TANK & FATHOM 30°

Meet the two selected collectives:

→ Fish Tank is an artist duo formed by Jennifer Yue Yuen Yu (Hong Kong) and Shawn Pak Hin Tang (Hong Kong), currently based in Germany. Their research explores the connections between bodies, infrastructures, and ecological systems within global maritime flows, through a practice that weaves together performance, sound, and field-based research — thinking of the ocean as a space of movement, inhabitation, and extraction. Coming from port cities, the duo sees ports as places of connection and separation at once: spaces that link places through water, yet also function as borders.

→ Fathom 30° is a transnational collective formed at the Centre for Research Architecture at Goldsmiths, University of London. The team brings together practitioners from diverse backgrounds — artistic research, sound, data visualisation, critical cartographies, and situated storytelling — with a shared focus on how infrastructure shapes ecological, geopolitical, and social realities. Guided by Forensic Architecture’s methodology, our approach was shaped to combine spatial analysis, open source.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / FISH TANK & FATHOM 30°

Meet the two selected collectives:

→ Fish Tank is an artist duo formed by Jennifer Yue Yuen Yu (Hong Kong) and Shawn Pak Hin Tang (Hong Kong), currently based in Germany. Their research explores the connections between bodies, infrastructures, and ecological systems within global maritime flows, through a practice that weaves together performance, sound, and field-based research — thinking of the ocean as a space of movement, inhabitation, and extraction. Coming from port cities, the duo sees ports as places of connection and separation at once: spaces that link places through water, yet also function as borders.

→ Fathom 30° is a transnational collective formed at the Centre for Research Architecture at Goldsmiths, University of London. The team brings together practitioners from diverse backgrounds — artistic research, sound, data visualisation, critical cartographies, and situated storytelling — with a shared focus on how infrastructure shapes ecological, geopolitical, and social realities. Guided by Forensic Architecture’s methodology, our approach was shaped to combine spatial analysis, open source.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / FISH TANK & FATHOM 30°

Meet the two selected collectives:

→ Fish Tank is an artist duo formed by Jennifer Yue Yuen Yu (Hong Kong) and Shawn Pak Hin Tang (Hong Kong), currently based in Germany. Their research explores the connections between bodies, infrastructures, and ecological systems within global maritime flows, through a practice that weaves together performance, sound, and field-based research — thinking of the ocean as a space of movement, inhabitation, and extraction. Coming from port cities, the duo sees ports as places of connection and separation at once: spaces that link places through water, yet also function as borders.

→ Fathom 30° is a transnational collective formed at the Centre for Research Architecture at Goldsmiths, University of London. The team brings together practitioners from diverse backgrounds — artistic research, sound, data visualisation, critical cartographies, and situated storytelling — with a shared focus on how infrastructure shapes ecological, geopolitical, and social realities. Guided by Forensic Architecture’s methodology, our approach was shaped to combine spatial analysis, open source.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / FISH TANK & FATHOM 30°

Meet the two selected collectives:

→ Fish Tank is an artist duo formed by Jennifer Yue Yuen Yu (Hong Kong) and Shawn Pak Hin Tang (Hong Kong), currently based in Germany. Their research explores the connections between bodies, infrastructures, and ecological systems within global maritime flows, through a practice that weaves together performance, sound, and field-based research — thinking of the ocean as a space of movement, inhabitation, and extraction. Coming from port cities, the duo sees ports as places of connection and separation at once: spaces that link places through water, yet also function as borders.

→ Fathom 30° is a transnational collective formed at the Centre for Research Architecture at Goldsmiths, University of London. The team brings together practitioners from diverse backgrounds — artistic research, sound, data visualisation, critical cartographies, and situated storytelling — with a shared focus on how infrastructure shapes ecological, geopolitical, and social realities. Guided by Forensic Architecture’s methodology, our approach was shaped to combine spatial analysis, open source.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / FISH TANK & FATHOM 30°

Meet the two selected collectives:

→ Fish Tank is an artist duo formed by Jennifer Yue Yuen Yu (Hong Kong) and Shawn Pak Hin Tang (Hong Kong), currently based in Germany. Their research explores the connections between bodies, infrastructures, and ecological systems within global maritime flows, through a practice that weaves together performance, sound, and field-based research — thinking of the ocean as a space of movement, inhabitation, and extraction. Coming from port cities, the duo sees ports as places of connection and separation at once: spaces that link places through water, yet also function as borders.

→ Fathom 30° is a transnational collective formed at the Centre for Research Architecture at Goldsmiths, University of London. The team brings together practitioners from diverse backgrounds — artistic research, sound, data visualisation, critical cartographies, and situated storytelling — with a shared focus on how infrastructure shapes ecological, geopolitical, and social realities. Guided by Forensic Architecture’s methodology, our approach was shaped to combine spatial analysis, open source.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / FISH TANK & FATHOM 30°

Meet the two selected collectives:

→ Fish Tank is an artist duo formed by Jennifer Yue Yuen Yu (Hong Kong) and Shawn Pak Hin Tang (Hong Kong), currently based in Germany. Their research explores the connections between bodies, infrastructures, and ecological systems within global maritime flows, through a practice that weaves together performance, sound, and field-based research — thinking of the ocean as a space of movement, inhabitation, and extraction. Coming from port cities, the duo sees ports as places of connection and separation at once: spaces that link places through water, yet also function as borders.

→ Fathom 30° is a transnational collective formed at the Centre for Research Architecture at Goldsmiths, University of London. The team brings together practitioners from diverse backgrounds — artistic research, sound, data visualisation, critical cartographies, and situated storytelling — with a shared focus on how infrastructure shapes ecological, geopolitical, and social realities. Guided by Forensic Architecture’s methodology, our approach was shaped to combine spatial analysis, open source.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / FISH TANK & FATHOM 30°

Meet the two selected collectives:

→ Fish Tank is an artist duo formed by Jennifer Yue Yuen Yu (Hong Kong) and Shawn Pak Hin Tang (Hong Kong), currently based in Germany. Their research explores the connections between bodies, infrastructures, and ecological systems within global maritime flows, through a practice that weaves together performance, sound, and field-based research — thinking of the ocean as a space of movement, inhabitation, and extraction. Coming from port cities, the duo sees ports as places of connection and separation at once: spaces that link places through water, yet also function as borders.

→ Fathom 30° is a transnational collective formed at the Centre for Research Architecture at Goldsmiths, University of London. The team brings together practitioners from diverse backgrounds — artistic research, sound, data visualisation, critical cartographies, and situated storytelling — with a shared focus on how infrastructure shapes ecological, geopolitical, and social realities. Guided by Forensic Architecture’s methodology, our approach was shaped to combine spatial analysis, open source.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / FISH TANK & FATHOM 30°

Meet the two selected collectives:

→ Fish Tank is an artist duo formed by Jennifer Yue Yuen Yu (Hong Kong) and Shawn Pak Hin Tang (Hong Kong), currently based in Germany. Their research explores the connections between bodies, infrastructures, and ecological systems within global maritime flows, through a practice that weaves together performance, sound, and field-based research — thinking of the ocean as a space of movement, inhabitation, and extraction. Coming from port cities, the duo sees ports as places of connection and separation at once: spaces that link places through water, yet also function as borders.

→ Fathom 30° is a transnational collective formed at the Centre for Research Architecture at Goldsmiths, University of London. The team brings together practitioners from diverse backgrounds — artistic research, sound, data visualisation, critical cartographies, and situated storytelling — with a shared focus on how infrastructure shapes ecological, geopolitical, and social realities. Guided by Forensic Architecture’s methodology, our approach was shaped to combine spatial analysis, open source.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / SELECTED COLLECTIVES

We’re excited to announce that the collectives Fish Tank and Fathom 30° have been selected to take part in artistic research project Ninety Percent of Everything.

During the residency, the two collectives will explore the port as a research space through complementary approaches.

✺ Fish Tank will investigate underwater sound as a tool for mapping spatial relations within the port, recording sonic signals and vibrations to understand how distance and orientation can be perceived through listening.

✺ Fathom 30° will focus on disruptions to port operations, interruptions in port activity strikes, slowdowns, refusals — as events that expose the ecological, political and logistical fragilities of global trade, asking how these pauses might open up pathways toward more sustainable forms of maritime logistics.

We would like to take this opportunity to thank all the collectives and artists who responded to our open call. The overwhelming number of applications we received, from all over the world, has been a wonderful surprise.

✺ Ninety Percent of Everything
is an artistic research project investigating the impact of maritime logistics on the climate crisis. To achieve this, it examines the port as a critical device interconnecting, ecological balances, commercial flows, and social and geopolitical dynamics.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / SELECTED COLLECTIVES

We’re excited to announce that the collectives Fish Tank and Fathom 30° have been selected to take part in artistic research project Ninety Percent of Everything.

During the residency, the two collectives will explore the port as a research space through complementary approaches.

✺ Fish Tank will investigate underwater sound as a tool for mapping spatial relations within the port, recording sonic signals and vibrations to understand how distance and orientation can be perceived through listening.

✺ Fathom 30° will focus on disruptions to port operations, interruptions in port activity strikes, slowdowns, refusals — as events that expose the ecological, political and logistical fragilities of global trade, asking how these pauses might open up pathways toward more sustainable forms of maritime logistics.

We would like to take this opportunity to thank all the collectives and artists who responded to our open call. The overwhelming number of applications we received, from all over the world, has been a wonderful surprise.

✺ Ninety Percent of Everything
is an artistic research project investigating the impact of maritime logistics on the climate crisis. To achieve this, it examines the port as a critical device interconnecting, ecological balances, commercial flows, and social and geopolitical dynamics.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / SELECTED COLLECTIVES

We’re excited to announce that the collectives Fish Tank and Fathom 30° have been selected to take part in artistic research project Ninety Percent of Everything.

During the residency, the two collectives will explore the port as a research space through complementary approaches.

✺ Fish Tank will investigate underwater sound as a tool for mapping spatial relations within the port, recording sonic signals and vibrations to understand how distance and orientation can be perceived through listening.

✺ Fathom 30° will focus on disruptions to port operations, interruptions in port activity strikes, slowdowns, refusals — as events that expose the ecological, political and logistical fragilities of global trade, asking how these pauses might open up pathways toward more sustainable forms of maritime logistics.

We would like to take this opportunity to thank all the collectives and artists who responded to our open call. The overwhelming number of applications we received, from all over the world, has been a wonderful surprise.

✺ Ninety Percent of Everything
is an artistic research project investigating the impact of maritime logistics on the climate crisis. To achieve this, it examines the port as a critical device interconnecting, ecological balances, commercial flows, and social and geopolitical dynamics.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / SELECTED COLLECTIVES

We’re excited to announce that the collectives Fish Tank and Fathom 30° have been selected to take part in artistic research project Ninety Percent of Everything.

During the residency, the two collectives will explore the port as a research space through complementary approaches.

✺ Fish Tank will investigate underwater sound as a tool for mapping spatial relations within the port, recording sonic signals and vibrations to understand how distance and orientation can be perceived through listening.

✺ Fathom 30° will focus on disruptions to port operations, interruptions in port activity strikes, slowdowns, refusals — as events that expose the ecological, political and logistical fragilities of global trade, asking how these pauses might open up pathways toward more sustainable forms of maritime logistics.

We would like to take this opportunity to thank all the collectives and artists who responded to our open call. The overwhelming number of applications we received, from all over the world, has been a wonderful surprise.

✺ Ninety Percent of Everything
is an artistic research project investigating the impact of maritime logistics on the climate crisis. To achieve this, it examines the port as a critical device interconnecting, ecological balances, commercial flows, and social and geopolitical dynamics.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / SELECTED COLLECTIVES

We’re excited to announce that the collectives Fish Tank and Fathom 30° have been selected to take part in artistic research project Ninety Percent of Everything.

During the residency, the two collectives will explore the port as a research space through complementary approaches.

✺ Fish Tank will investigate underwater sound as a tool for mapping spatial relations within the port, recording sonic signals and vibrations to understand how distance and orientation can be perceived through listening.

✺ Fathom 30° will focus on disruptions to port operations, interruptions in port activity strikes, slowdowns, refusals — as events that expose the ecological, political and logistical fragilities of global trade, asking how these pauses might open up pathways toward more sustainable forms of maritime logistics.

We would like to take this opportunity to thank all the collectives and artists who responded to our open call. The overwhelming number of applications we received, from all over the world, has been a wonderful surprise.

✺ Ninety Percent of Everything
is an artistic research project investigating the impact of maritime logistics on the climate crisis. To achieve this, it examines the port as a critical device interconnecting, ecological balances, commercial flows, and social and geopolitical dynamics.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

→ NPoE / SELECTED COLLECTIVES

We’re excited to announce that the collectives Fish Tank and Fathom 30° have been selected to take part in artistic research project Ninety Percent of Everything.

During the residency, the two collectives will explore the port as a research space through complementary approaches.

✺ Fish Tank will investigate underwater sound as a tool for mapping spatial relations within the port, recording sonic signals and vibrations to understand how distance and orientation can be perceived through listening.

✺ Fathom 30° will focus on disruptions to port operations, interruptions in port activity strikes, slowdowns, refusals — as events that expose the ecological, political and logistical fragilities of global trade, asking how these pauses might open up pathways toward more sustainable forms of maritime logistics.

We would like to take this opportunity to thank all the collectives and artists who responded to our open call. The overwhelming number of applications we received, from all over the world, has been a wonderful surprise.

✺ Ninety Percent of Everything
is an artistic research project investigating the impact of maritime logistics on the climate crisis. To achieve this, it examines the port as a critical device interconnecting, ecological balances, commercial flows, and social and geopolitical dynamics.

—

a project by @uboot.lab
in collaboration with @palazzoducalegenova
with the contribution of @stellareprod , @itinerariparalleli , @necessity.ink, @theheathstudio
under the patronage of Observatoire des publics et des pratiques de la culture – MESRI/AMU
supported by @portsofgenoa_official @gruppogrendi1828

with the support of @fondazionecompagniadisanpaolo - bando “Starter – Cultura e creatività per la sfida ambientale”

curated by @_mpu
scientific supervision @francesca.garaventa
mentor artists @stellare [@filoq @alebavo @raffaele_rebaudengo] @tiz.alocci
systemic design @itinerariparalleli
photographic research @simonelezzi
visual identity & graphics @nomdeplume_studio
organisational coordination @marinafiii
press office @ucstudio.it
social media @kiaracaredda

Hong Kong Focus: Artist Case Study

fish tank( Shawn Pakhin Tang & Jennifer Yue Yuen Yu)

//
This project is shaped by the dual experience of two artists who are both divers and art practitioners. They employ the wreckage of coastal vessels, beach debris, and maritime relics as dynamic records inscribed by currents, cycles, and time. Through simulated systems, sculptural interventions, and forms inspired by marine life, they reconstruct these elements into living, permeable archives. “Redwood” reassembles slender frames from fragments of antique Chinese wooden chairs, resembling braces for vanished trees. Micro-vibration devices at their junctions quiver to high-frequency radio signals, revealing the ecological spectre and fading echoes of timber within trade extraction. “Vessel” gathers hundreds of compasses to extract liquids and distilled water, their separation forming a “horizon”. “Scriptures of the Rest” arranges found dead coral upon wooden planks like silent script, alongside man-made cavities, composing an account of destruction and persistence. “The Lightness of Water” places digitally printed coral reef images within a ship’s window, where sunlight gradually bleaches them blue—a public witness to disappearance, much like white coral. (Translated from Chinese ver.)

该项目由两位艺术家的潜水员与艺术实践者的双重经验塑造。他们将海岸船只残件、海滩废弃物及海事遗物视为水流、循环与时间书写的动态记录，通过模拟系统、雕塑介入及海洋生物启发形态，重构为活的渗透性档案。《紅木》以旧中式木椅碎片重组细长骨架，似支撑消失之树的固定器，节点微型震动装置随高频无线电信号轻颤，显现贸易迁移中木材的生态幽影与逝去回声；《容器》汇集数百指南针提取液体与蒸馏水，二者分离形成 “海平线”；《余者的经文》将拾得死珊瑚排列于木板，如无声文字，与人为侵蚀空洞共组成损毁与坚持的账簿；《The Lightness of Water》置数码印刷珊瑚礁图像于船窗，随阳光缓慢褪色至蓝色，如白珊瑚般公开见证消失。(文字：策展人萬豐）
//

Four days of Moordrn GZ have come to an end. Thank you so much @daoju.art Chris Wan for the invitation. Shout out to the GZ team. And last but not least great thanks to @Karietsui for all sorts of support, fabrication assistance and on-site installation throughout the event.

@jenniferyueyuenyu
@shawnzytph

Hong Kong Focus: Artist Case Study

fish tank( Shawn Pakhin Tang & Jennifer Yue Yuen Yu)

//
This project is shaped by the dual experience of two artists who are both divers and art practitioners. They employ the wreckage of coastal vessels, beach debris, and maritime relics as dynamic records inscribed by currents, cycles, and time. Through simulated systems, sculptural interventions, and forms inspired by marine life, they reconstruct these elements into living, permeable archives. “Redwood” reassembles slender frames from fragments of antique Chinese wooden chairs, resembling braces for vanished trees. Micro-vibration devices at their junctions quiver to high-frequency radio signals, revealing the ecological spectre and fading echoes of timber within trade extraction. “Vessel” gathers hundreds of compasses to extract liquids and distilled water, their separation forming a “horizon”. “Scriptures of the Rest” arranges found dead coral upon wooden planks like silent script, alongside man-made cavities, composing an account of destruction and persistence. “The Lightness of Water” places digitally printed coral reef images within a ship’s window, where sunlight gradually bleaches them blue—a public witness to disappearance, much like white coral. (Translated from Chinese ver.)

该项目由两位艺术家的潜水员与艺术实践者的双重经验塑造。他们将海岸船只残件、海滩废弃物及海事遗物视为水流、循环与时间书写的动态记录，通过模拟系统、雕塑介入及海洋生物启发形态，重构为活的渗透性档案。《紅木》以旧中式木椅碎片重组细长骨架，似支撑消失之树的固定器，节点微型震动装置随高频无线电信号轻颤，显现贸易迁移中木材的生态幽影与逝去回声；《容器》汇集数百指南针提取液体与蒸馏水，二者分离形成 “海平线”；《余者的经文》将拾得死珊瑚排列于木板，如无声文字，与人为侵蚀空洞共组成损毁与坚持的账簿；《The Lightness of Water》置数码印刷珊瑚礁图像于船窗，随阳光缓慢褪色至蓝色，如白珊瑚般公开见证消失。(文字：策展人萬豐）
//

Four days of Moordrn GZ have come to an end. Thank you so much @daoju.art Chris Wan for the invitation. Shout out to the GZ team. And last but not least great thanks to @Karietsui for all sorts of support, fabrication assistance and on-site installation throughout the event.

@jenniferyueyuenyu
@shawnzytph

Hong Kong Focus: Artist Case Study

fish tank( Shawn Pakhin Tang & Jennifer Yue Yuen Yu)

//
This project is shaped by the dual experience of two artists who are both divers and art practitioners. They employ the wreckage of coastal vessels, beach debris, and maritime relics as dynamic records inscribed by currents, cycles, and time. Through simulated systems, sculptural interventions, and forms inspired by marine life, they reconstruct these elements into living, permeable archives. “Redwood” reassembles slender frames from fragments of antique Chinese wooden chairs, resembling braces for vanished trees. Micro-vibration devices at their junctions quiver to high-frequency radio signals, revealing the ecological spectre and fading echoes of timber within trade extraction. “Vessel” gathers hundreds of compasses to extract liquids and distilled water, their separation forming a “horizon”. “Scriptures of the Rest” arranges found dead coral upon wooden planks like silent script, alongside man-made cavities, composing an account of destruction and persistence. “The Lightness of Water” places digitally printed coral reef images within a ship’s window, where sunlight gradually bleaches them blue—a public witness to disappearance, much like white coral. (Translated from Chinese ver.)

该项目由两位艺术家的潜水员与艺术实践者的双重经验塑造。他们将海岸船只残件、海滩废弃物及海事遗物视为水流、循环与时间书写的动态记录，通过模拟系统、雕塑介入及海洋生物启发形态，重构为活的渗透性档案。《紅木》以旧中式木椅碎片重组细长骨架，似支撑消失之树的固定器，节点微型震动装置随高频无线电信号轻颤，显现贸易迁移中木材的生态幽影与逝去回声；《容器》汇集数百指南针提取液体与蒸馏水，二者分离形成 “海平线”；《余者的经文》将拾得死珊瑚排列于木板，如无声文字，与人为侵蚀空洞共组成损毁与坚持的账簿；《The Lightness of Water》置数码印刷珊瑚礁图像于船窗，随阳光缓慢褪色至蓝色，如白珊瑚般公开见证消失。(文字：策展人萬豐）
//

Four days of Moordrn GZ have come to an end. Thank you so much @daoju.art Chris Wan for the invitation. Shout out to the GZ team. And last but not least great thanks to @Karietsui for all sorts of support, fabrication assistance and on-site installation throughout the event.

@jenniferyueyuenyu
@shawnzytph

Hong Kong Focus: Artist Case Study

fish tank( Shawn Pakhin Tang & Jennifer Yue Yuen Yu)

//
This project is shaped by the dual experience of two artists who are both divers and art practitioners. They employ the wreckage of coastal vessels, beach debris, and maritime relics as dynamic records inscribed by currents, cycles, and time. Through simulated systems, sculptural interventions, and forms inspired by marine life, they reconstruct these elements into living, permeable archives. “Redwood” reassembles slender frames from fragments of antique Chinese wooden chairs, resembling braces for vanished trees. Micro-vibration devices at their junctions quiver to high-frequency radio signals, revealing the ecological spectre and fading echoes of timber within trade extraction. “Vessel” gathers hundreds of compasses to extract liquids and distilled water, their separation forming a “horizon”. “Scriptures of the Rest” arranges found dead coral upon wooden planks like silent script, alongside man-made cavities, composing an account of destruction and persistence. “The Lightness of Water” places digitally printed coral reef images within a ship’s window, where sunlight gradually bleaches them blue—a public witness to disappearance, much like white coral. (Translated from Chinese ver.)

该项目由两位艺术家的潜水员与艺术实践者的双重经验塑造。他们将海岸船只残件、海滩废弃物及海事遗物视为水流、循环与时间书写的动态记录，通过模拟系统、雕塑介入及海洋生物启发形态，重构为活的渗透性档案。《紅木》以旧中式木椅碎片重组细长骨架，似支撑消失之树的固定器，节点微型震动装置随高频无线电信号轻颤，显现贸易迁移中木材的生态幽影与逝去回声；《容器》汇集数百指南针提取液体与蒸馏水，二者分离形成 “海平线”；《余者的经文》将拾得死珊瑚排列于木板，如无声文字，与人为侵蚀空洞共组成损毁与坚持的账簿；《The Lightness of Water》置数码印刷珊瑚礁图像于船窗，随阳光缓慢褪色至蓝色，如白珊瑚般公开见证消失。(文字：策展人萬豐）
//

Four days of Moordrn GZ have come to an end. Thank you so much @daoju.art Chris Wan for the invitation. Shout out to the GZ team. And last but not least great thanks to @Karietsui for all sorts of support, fabrication assistance and on-site installation throughout the event.

@jenniferyueyuenyu
@shawnzytph

Hong Kong Focus: Artist Case Study

fish tank( Shawn Pakhin Tang & Jennifer Yue Yuen Yu)

//
This project is shaped by the dual experience of two artists who are both divers and art practitioners. They employ the wreckage of coastal vessels, beach debris, and maritime relics as dynamic records inscribed by currents, cycles, and time. Through simulated systems, sculptural interventions, and forms inspired by marine life, they reconstruct these elements into living, permeable archives. “Redwood” reassembles slender frames from fragments of antique Chinese wooden chairs, resembling braces for vanished trees. Micro-vibration devices at their junctions quiver to high-frequency radio signals, revealing the ecological spectre and fading echoes of timber within trade extraction. “Vessel” gathers hundreds of compasses to extract liquids and distilled water, their separation forming a “horizon”. “Scriptures of the Rest” arranges found dead coral upon wooden planks like silent script, alongside man-made cavities, composing an account of destruction and persistence. “The Lightness of Water” places digitally printed coral reef images within a ship’s window, where sunlight gradually bleaches them blue—a public witness to disappearance, much like white coral. (Translated from Chinese ver.)

该项目由两位艺术家的潜水员与艺术实践者的双重经验塑造。他们将海岸船只残件、海滩废弃物及海事遗物视为水流、循环与时间书写的动态记录，通过模拟系统、雕塑介入及海洋生物启发形态，重构为活的渗透性档案。《紅木》以旧中式木椅碎片重组细长骨架，似支撑消失之树的固定器，节点微型震动装置随高频无线电信号轻颤，显现贸易迁移中木材的生态幽影与逝去回声；《容器》汇集数百指南针提取液体与蒸馏水，二者分离形成 “海平线”；《余者的经文》将拾得死珊瑚排列于木板，如无声文字，与人为侵蚀空洞共组成损毁与坚持的账簿；《The Lightness of Water》置数码印刷珊瑚礁图像于船窗，随阳光缓慢褪色至蓝色，如白珊瑚般公开见证消失。(文字：策展人萬豐）
//

Four days of Moordrn GZ have come to an end. Thank you so much @daoju.art Chris Wan for the invitation. Shout out to the GZ team. And last but not least great thanks to @Karietsui for all sorts of support, fabrication assistance and on-site installation throughout the event.

@jenniferyueyuenyu
@shawnzytph

Together, presenting their collaborative works as the artist duo Fish Tank @fishtank.zip , Jennifer @jenniferyueyuenyu and Shawn @shawnzytph , after one-month residency at @giliecotrust on Gili Trawangan, Indonesia. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

Together, presenting their collaborative works as the artist duo Fish Tank @fishtank.zip , Jennifer @jenniferyueyuenyu and Shawn @shawnzytph , after one-month residency at @giliecotrust on Gili Trawangan, Indonesia. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

Thank you everyone sinking in the water with us in our 𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕 Vernissage.

𝑯𝒊𝒈𝒉 𝑻𝒊𝒅𝒆 𝑳𝒐𝒘 𝑪𝒖𝒓𝒓𝒆𝒏𝒕
Period: 22.02.2025-25.02.2025
Time: 1PM-6PM
Venue: Dauerwelle, Tiefer 2, 28195 Bremen, Germany

This exhibition showcases the works of the artist duo Fish Tank— @shawnzytph and @jenniferyueyuenyu , that emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

If you want to support the ocean in action, go find out more at @giliecotrust

High Tide Low Current

Vernissage: 6pm, 21/02/2025

Exhibition time & dates: 1pm-6pm, 22/02/2025-25/02/2025

Abstract
Running from 21st to 25th February 2025 at Dauerwelle, exclusively at Tiefer 2, High Tide Low Current showcases the works of the artist duo Fish Tank—Shawn Pak Hin Tang, recipient of the prestigious H.A. Bockmeyer Travel Grant 2024, and artist Jennifer Yue Yuen Yu. This exhibition emerged from their residency on Gili Trawangan, Indonesia, where they volunteered in coral reef restoration through bio-rock technology, reef nurseries, and propagation. Their shared experiences as diving partners deepened their understanding of marine ecosystems and illuminated the socio-political complexities introduced by tourism.

Amid the imminent climate crisis, High Tide Low Current evokes a physical condition that invites spectators to dive in while simultaneously alluding to the stimulation and threats carried along the current. The artists respond through their personal perspectives, which mediate and intersect within an ecological scope. In this exhibition, Shawns’ installations employ systems such as solar energy and sound to juxtapose the respective stresses endured by both corals and humans. By reenacting aquaculture processes, Shawn reflects on his sense of displacement as a diver, drawing poignant parallels between environmental and personal dislocation.

On the other hand, Jennifer’s practice employs symbols to generate new narratives across various forms, including performances and installations. In particular, she explores the shapes and behaviours of aquatic organisms to interrogate the delicate balance between consumption and formation. By utilising natural objects to create archeological studies of transformation, she traces the sequences and impacts of change.

Together, presenting their collaborative works as the artist duo Fish Tank, Jennifer and Shawn provoke a reimagining of humanity’s place within nature. Their works challenge us to reconsider our role in the delicate balance of marine ecosystems, offering a poignant exploration of coexistence and sustainability.

@jenniferyueyuenyu @shawnzytph
@digitalmediabremen @hfkbremen

🤿Strangers from Beneath the Land and Beyond the Ocean (Biorock Application on Coral Reef Restoration and Touring at the Dump Site on an Island)
2024
Duo-channel video installation, stereo sound, looped
@fishtank.zip

🌊The video installation, comprising two channels, presents a documentary account of the residency that was conducted in Indonesia. The objective of this residency is to gain insight into the process of coral restoration through the utilisation of Biorock technology, which provides an analogue environment that enables coral to withstand the effects of climate change. However, the objective of this project is not merely to disseminate information about the environmental measures that have already been implemented, which has consistently been a significant topic at the global level. Rather, it seeks to examine the social and geopolitical constraints that individuals from a different cultural context would encounter. Additionally, this project illuminates the far-reaching consequences of other environmental concerns in the context of island management. It employs a visual narrative approach to reflect on and elucidate the complex interplay between contradictory social expectations and the displacement of geopolitical infrastructure among global citizens from diverse cultural backgrounds.

🤿Strangers from Beneath the Land and Beyond the Ocean (Biorock Application on Coral Reef Restoration and Touring at the Dump Site on an Island)
2024
Duo-channel video installation, stereo sound, looped
@fishtank.zip

🌊The video installation, comprising two channels, presents a documentary account of the residency that was conducted in Indonesia. The objective of this residency is to gain insight into the process of coral restoration through the utilisation of Biorock technology, which provides an analogue environment that enables coral to withstand the effects of climate change. However, the objective of this project is not merely to disseminate information about the environmental measures that have already been implemented, which has consistently been a significant topic at the global level. Rather, it seeks to examine the social and geopolitical constraints that individuals from a different cultural context would encounter. Additionally, this project illuminates the far-reaching consequences of other environmental concerns in the context of island management. It employs a visual narrative approach to reflect on and elucidate the complex interplay between contradictory social expectations and the displacement of geopolitical infrastructure among global citizens from diverse cultural backgrounds.

🤿Strangers from Beneath the Land and Beyond the Ocean (Biorock Application on Coral Reef Restoration and Touring at the Dump Site on an Island)
2024
Duo-channel video installation, stereo sound, looped
@fishtank.zip

🌊The video installation, comprising two channels, presents a documentary account of the residency that was conducted in Indonesia. The objective of this residency is to gain insight into the process of coral restoration through the utilisation of Biorock technology, which provides an analogue environment that enables coral to withstand the effects of climate change. However, the objective of this project is not merely to disseminate information about the environmental measures that have already been implemented, which has consistently been a significant topic at the global level. Rather, it seeks to examine the social and geopolitical constraints that individuals from a different cultural context would encounter. Additionally, this project illuminates the far-reaching consequences of other environmental concerns in the context of island management. It employs a visual narrative approach to reflect on and elucidate the complex interplay between contradictory social expectations and the displacement of geopolitical infrastructure among global citizens from diverse cultural backgrounds.

🤿Strangers from Beneath the Land and Beyond the Ocean (Biorock Application on Coral Reef Restoration and Touring at the Dump Site on an Island)
2024
Duo-channel video installation, stereo sound, looped
@fishtank.zip

🌊The video installation, comprising two channels, presents a documentary account of the residency that was conducted in Indonesia. The objective of this residency is to gain insight into the process of coral restoration through the utilisation of Biorock technology, which provides an analogue environment that enables coral to withstand the effects of climate change. However, the objective of this project is not merely to disseminate information about the environmental measures that have already been implemented, which has consistently been a significant topic at the global level. Rather, it seeks to examine the social and geopolitical constraints that individuals from a different cultural context would encounter. Additionally, this project illuminates the far-reaching consequences of other environmental concerns in the context of island management. It employs a visual narrative approach to reflect on and elucidate the complex interplay between contradictory social expectations and the displacement of geopolitical infrastructure among global citizens from diverse cultural backgrounds.

🤿Strangers from Beneath the Land and Beyond the Ocean (Biorock Application on Coral Reef Restoration and Touring at the Dump Site on an Island)
2024
Duo-channel video installation, stereo sound, looped
@fishtank.zip

🌊The video installation, comprising two channels, presents a documentary account of the residency that was conducted in Indonesia. The objective of this residency is to gain insight into the process of coral restoration through the utilisation of Biorock technology, which provides an analogue environment that enables coral to withstand the effects of climate change. However, the objective of this project is not merely to disseminate information about the environmental measures that have already been implemented, which has consistently been a significant topic at the global level. Rather, it seeks to examine the social and geopolitical constraints that individuals from a different cultural context would encounter. Additionally, this project illuminates the far-reaching consequences of other environmental concerns in the context of island management. It employs a visual narrative approach to reflect on and elucidate the complex interplay between contradictory social expectations and the displacement of geopolitical infrastructure among global citizens from diverse cultural backgrounds.

🤿Strangers from Beneath the Land and Beyond the Ocean (Biorock Application on Coral Reef Restoration and Touring at the Dump Site on an Island)
2024
Duo-channel video installation, stereo sound, looped
@fishtank.zip

🌊The video installation, comprising two channels, presents a documentary account of the residency that was conducted in Indonesia. The objective of this residency is to gain insight into the process of coral restoration through the utilisation of Biorock technology, which provides an analogue environment that enables coral to withstand the effects of climate change. However, the objective of this project is not merely to disseminate information about the environmental measures that have already been implemented, which has consistently been a significant topic at the global level. Rather, it seeks to examine the social and geopolitical constraints that individuals from a different cultural context would encounter. Additionally, this project illuminates the far-reaching consequences of other environmental concerns in the context of island management. It employs a visual narrative approach to reflect on and elucidate the complex interplay between contradictory social expectations and the displacement of geopolitical infrastructure among global citizens from diverse cultural backgrounds.

🤿Strangers from Beneath the Land and Beyond the Ocean (Biorock Application on Coral Reef Restoration and Touring at the Dump Site on an Island)
2024
Duo-channel video installation, stereo sound, looped
@fishtank.zip

🌊The video installation, comprising two channels, presents a documentary account of the residency that was conducted in Indonesia. The objective of this residency is to gain insight into the process of coral restoration through the utilisation of Biorock technology, which provides an analogue environment that enables coral to withstand the effects of climate change. However, the objective of this project is not merely to disseminate information about the environmental measures that have already been implemented, which has consistently been a significant topic at the global level. Rather, it seeks to examine the social and geopolitical constraints that individuals from a different cultural context would encounter. Additionally, this project illuminates the far-reaching consequences of other environmental concerns in the context of island management. It employs a visual narrative approach to reflect on and elucidate the complex interplay between contradictory social expectations and the displacement of geopolitical infrastructure among global citizens from diverse cultural backgrounds.

‘Yours Strangers’ is a self-initiated and co-curated exhibition in Den Haag. Followed by a short residency, we are very pleased to be part of this, joined by a group of talented minds, @zheng_tianyi, @twinkle.bo, @taaaaaaaaeto and @hussel_zhu, to create this beautiful exhibition, taking on our unique interests, artistic methodologies and Asian-pacific diasporic identities that embodies mediums spanning sculpture, drawings, installations, videos, performances and open workshops. In addition, a special thanks to @ngodeiorg and @nowhere.netherlands for their generous support.

@yours.strangers

At unrelated work.

At work

Shawn Pakhin Tang, Artist in Residency in Den Haag, Netherlands.

Shawn Pakhin Tang, Artist in Residency in Den Haag, Netherlands.

Shawn Pakhin Tang, Artist in Residency in Den Haag, Netherlands.