Bastoy Prison, Norway; The world's kindest prison

While this Norwegian island was once home to a brutal reform school that eventually led to a youth riot, it is now the site of the first "ecological" prison for hardened criminals. Just under 50 miles off the coast of Norway's capitol city of Oslo is tiny Bastøy Island, more accurately known as Bastøy Prison which has a legacy of incarceration going back over a century during which the conditions have vacillated from brutality that triggered a revolt of young boys to the present humane commune of criminals. Like San Francisco's Alcatraz, Bastøy Island proved to be a prime spot for incarceration where the natural sea barrier prevented any escape. Thus in 1900 the Bastøy boys home opened on the island and began taking in wayward young men to be reconditioned in the isolated environs. The conditions in the institution were stark and the punishment for misbehavior was draconian even by the standards of the few outsiders who visited the island. The poor treatment came to a head in 1915 when a group of boys tried to escape and when they were caught, the rest of the youths rioted, burning down a barn in the process. It took the intervention of the Norwegian military who deployed troops to the island to bring the boys in line. Unfortunately the riot changed little and the boys home remained in operation until 1970. Once the boy's home was closed, the island was converted to a minimum-security prison that took a more humanistic approach to prison life. In Bastøy Prison, which still operates in the same conscientious manner today, the inmates are treated as part of a community. They are given jobs which they must perform, but they are also given downtime and the limited freedom to roam the island. They are roomed in well appointed cabins and fed meals prepared by a professional chef. And these are not minor offenders either. Among the over 100 inmates living on Bastøy Island are rapists, murderers, and drug smugglers. Many have raised an eyebrow at providing such an experience and calling it punishment, but only 16% of prisoners released from Bastøy Prison end up reoffending compared to Europe's general average of 70%. The prison also sets out to be ecologically aware by having the prisoners care for the natural habitat of the island as well. In a 2012 CNN article the prison governor summed up the philosophy nicely: "If we have created a holiday camp for criminals here, so what? We should reduce the risk of reoffending, because if we don't, what's the point of punishment, except for leaning toward the primitive side of humanity? Source: Atlas Obscura:

Terminal Island

TERMINAL ISLAND IS AN ARTIFICIAL landmass in the heart of the ports of Long Beach and Los Angeles, and was the subject of an exhibit at the CLUI Los Angeles from March 31 to May 30th, 2005. The exhibit looked at Terminal Island as a sort of organismic, flowing, landscape machine, composed of five separate terminal activities that occur on the island: importation, exportation, excretion, deportation and expulsion. Each one of these activities was described in text, and depicted through video captured by CLUI personnel over the months prior to the exhibit. This landscape machine churns and disgorges wastes in its treatment plant, and grinds up metals in its scrap yards. Fluids course through pipelines under its skin, while ships of crude pump in to it, and suck out of it. Its extremities are a bouquet of dead ends, of society pushed to the limits, with prisons, coast guards, piers and ground up riprap. As the center of the largest port in the Americas, the nation’s economy flows across its thousands of acres of asphalt, in the form of digitized cubes of material trade, in twenty and forty foot equivalences. It was for this, more than anything, that the island grew out of the ocean, an extension of the continental reach towards the orient. Its scale is beyond sensation by the senses, and its functions exceed the imaginations of our daily lives. Terminal Island is like a fictional place, made real by the collective will of America. The exhibit was made possible by a grant from the City of Los Angeles Department of Cultural Affairs, and the CLUI Fund for the Study of Islands and Distant American Landmasses. A bus and boat tour were also conducted as part of this exhibit. READ ABOUT THE TERMINAL ISLAND TOUR Source: Centre for Land Use Interpretation

The Inujima Rehabilitation Art Project on the island of Inujima, Japan

Inujima ("Dog Island") is a Japanese island in the Seto Inland Sea, located near the coast of Okayama Prefecture. As of 2005, Inujima has a population of 72. A ferry service operates between Hōden and Inujima. A copper refinery was opened on the island in 1909, but this closed in 1919.[2] The brick-built refinery remained largely undemolished, and from 2008, it formed the centrepiece of a large-scale art project designed to stimulate tourism to the island. The Inujima Art Project is a rehabilitation project covering the entire island by the Naoshima Fukutake Art Museum Foundation, a project of Benesse Corporation. It opened to the public in April 2008. The first phase of the project was to turn the old seirensho refinery into a model of contemporary architecture and art to recycle the Japanese industrial heritage. It was the coordinated efforts of the architect Hiroshi Sambuichi and Yukinori Yanagi who collaborated with the architect in his artwork, and the Faculty of Environmental Science and Technology at Okayama University.

Nauru government runs out of money and may shut services (Australian Broadcasting Corporation)

By finance reporter Elysse Morgan and staff Updated 26 Sep 2014, 10:28pm Nauru's finance minister says the country is out of money and services will soon start shutting down, including those for refugees. Two years ago a court ruled that Nauru owed $16 million to a US-based fund manager, Firebird. It refused to pay and that debt has grown to $30 million. The government's bank accounts with Westpac have now been frozen, leaving it with only the cash it had on the island. Nauru is seeking to overturn the decision and urgently free up the funds. Nauru's government says it has had to fly its employees offshore with cash to pay overseas suppliers. In an affidavit, the country's finance minister David Adeang told the NSW Supreme Court that the island would shortly run out of cash, after making its latest round of government salary payments this week. The minister says Nauru will not be able to make any further salary payments, which will affect almost half of Nauru's population who are employed by the government, and have a large flow on impact to the island's tiny economy. Nauru would also have no money to buy fuel for generators, affecting the hospital and desalination plant. The minister says planes would be grounded, meaning Nauru will not be able to transport health, legal and other contractors to the detention centre, which he says will have a severe impact on the physical and mental health of the approximately 1,200 refugees living there, plus 200 more living in the community. However, a Nauru government spokesperson says no services have yet been affected. The court case starts on Monday.

'The Obesity Epidemic in the Pacific Islands' an article by Michael Curtis, Journal of Development and Social Transformation

The diseases associated with obesity have especially affected the inhabitants of the Pacific Islands, with some of the highest levels of obesity in the world found in the region. For example, the rates of overweight and obese persons have been reported to be as high as 75% in the populations of Nauru, Samoa, American Samoa, the Cook Islands, Tonga, and French Polynesia (Hughes, 2003). More prevalent in urban areas, the health problems are less common in areas that have had little contact with Western civilization (Prior in Ringrose & Zimmet, 1979). In fact, Polynesians and Micronesians that have maintained a traditional diet have diabetes rates lower than those of Western populations. For thousands of years, the inhabitants of the Pacific Islands were isolated from the rest of the world, allowing their social, cultural and economic patterns to develop untouched (Zimmet, 1979). When the Europeans began arriving in the 17th and 18th centuries, the people of the Pacific were described as “strong, muscular and mostly in good health” (Hughes, 2003). The health of these islanders was community-based and “a shared sense of well-being” permeated the collective. Food had “symbolic and economic importance” as opposed to a physiological or biological imperative. This concept was epitomized in the aristocracy of these island populations and, as a result, they were usually the largest people in the community (Hughes, 2003). Diamond offers a different slant on the history of obesity in the Pacific. He notes that ancient Pacific Islanders were highly skilled in ocean travel and “often undertook inter-island canoe voyages lasting several weeks” (2003, p. 601). Many died en route, but the most obese survived. He surmises this is why Pacific Islanders are so large today. Zimmet (1979, p.145) identifies two “disastrous waves” of diseases previously unknown to the people of the Pacific. First, there were the communicable diseases, which came as early as 1521, coinciding with Magellan’s voyage around the world. The second wave is that of the chronic non-communicable diseases, such as diabetes and hypertension that accompanied the introduction of Western habits in the culture. Everything changed after World War Two. The military, with bases in and around the Pacific Islands, “parachuted” the region into the 20th century in the span of a few years. For Western peoples, there was a gradual acclimation to the technology and scientific accomplishments of the 20th century. For Pacific Island populations, on the other hand, the process was “telescoped into a period of less than 30 years” (Zimmet, 1979, p.145). As the indigenous island populations have replaced their traditional subsistence style of living with a more modern way of life, dramatic changes have occurred. Specifically, traditional foods of past generations have been supplanted with food purchased from Western nations, such as the United States, Australia, New Zealand and Japan (Ringrose and Zimmet, 1979). The traditional foods of the islands such as fresh fish, meat, and local fruits and vegetables have been replaced by rice, sugar, flour, canned meats, canned fruits and vegetables, soft drinks and beer. The diet is high in calories and with little nutritional value (Zimmet, 1979). Many Pacific Islanders have come to depend on food imported from abroad. Consequently, commercial ventures on the islands tend to stock these high-fat, energy-dense foods. Over time, purchasing these imported goods has become a sign of social status in the community and traditional foods have decreased in importance. Even before World War Two, missionary wives and other women from the West were strongly advising the women of the Pacific on the “proper way” to feed their families. The island women were taught to “bake tarts and serve a roast beef dinner in order to keep their families healthy” (Pollock, 1992, p.182). The ingredients for these meals could only be obtained from sources outside the islands, and so a situation of “dietary colonialism” resulted (Pollock, 1992, p.182). Consequently, food imports, as a proportion of total imports, has risen to around 25% for many island nations (Pollock, 1992). Further, the increasing use of modern technology and the shift from agriculture-based occupations to civil servant office work has resulted in a sharp decrease in the day-to-day physical activity of many Pacific Islanders (WHO, 2002). The significant changes connected with the transition to a cash economy have also brought great stress to the people. The desk jobs the majority of the populations occupy contrast greatly with their traditional way of life. Further, these new nations must now compete with and adapt to the new global economy and participate in the complicated politics of the world (Zimmet, 1979, p. 148). With the institution of a modern way of life, they have traded in their canoes for motorized boats and have become accustomed to using cars instead of walking (Zimmet, Seluka, et. al, 1977)... Big is beautiful Culturally, large physical size is considered a mark of beauty and social status in many Pacific Island countries. At the community and policy making level, there is resistance to the view that obesity is a health problem. Generally, Pacific Islanders have larger frames and more muscle than Asians and Europeans, so the challenge for the Pacific Islanders becomes understanding the difference between being big as a result of hereditary factors versus as a result of overeating. Complicating the task for health officials and policy proponents is the common attitude among Pacific Islanders that obesity traditionally has been a sign of high social position and wealth (Ringrose and Zimmet, 1979, p. 1340). Since a high value was placed on a well- fed person, a commitment was made to prepare large quantities of foods for the traditional leaders and great effort was required to feed them (Pollock, 1992)... Read full article here: Journal of Development and Social Transformation 41

41 Artists withdraw from 19th Biennale of Sydney due to expanding management of Manus Island and Nauru immigration detention centres

Tuesday, February 25, 2014 Statement of Withdrawal from 19th Biennale of Sydney STATEMENT OF WITHDRAWAL 26 February 2014 We are five of the 41 artists - Libia Castro, Ólafur Ólafsson, Charlie Sofo, Gabrielle de Vietri and Ahmet Öğüt - who signed a letter to the Board of the Biennale of Sydney in relation to their founding sponsor, Transfield. We make this statement in light of Transfield’s expanding management of Manus Island and Nauru immigration detention centres. We act in the wake of the death of Reza Berati from inside Manus Island detention centre on February 17. We are in urgent political circumstances with a government that is stepping up their warfare on the world’s most vulnerable people daily. We have received indications from the Board of the Biennale and Transfield that there will be no movement on their involvement in this issue. In our letter to the Board we asked for action and engagement, but we are told that the issue is too complex, and that the financial agreements are too important to re-negotiate. And so we make this statement from a critical juncture of political urgency and artistic autonomy. This is a statement of our withdrawal from the 19th Biennale of Sydney. We have revoked our works, cancelled our public events and relinquished our artists’ fees. While we have sought ways to address our strong opposition to Australia’s mandatory detention policy as participants of the Biennale, we have decided that withdrawal is our most constructive choice. We do not accept the platform that Transfield provides via the Biennale for critique. We see our participation in the Biennale as an active link in a chain of associations that leads to the abuse of human rights. For us, this is undeniable and indefensible. Our withdrawal is one action in a multiplicity of others, already enacted and soon to be carried out in and around the Biennale. We do not propose to know the exact ethical, strategic or effective action to end mandatory detention, but we act on conscience and we act with hope. We have chosen to redirect our energies into multiple forms of action: discussions, workshops, publications, exhibitions and works that will continue to fuel this debate in the public sphere. In this, we stand with our local and international communities that are calling for the closure of Australia’s offshore detention facilities. We ask for their active support in keeping this issue at the forefront of our minds, in the warmest part of our hearts, in the most urgent of discussions and in the most bold of actions, until the detention centres on Manus Island and Nauru close. We withdraw to send a message to the Biennale urging them, again, to act ethically and transparently. To send a message to Transfield that we will not add value to their brand and its inhumane enterprise. Finally, and most importantly, we withdraw to send a message to the Australian Government that we do not accept their unethical policy against asylum seekers. We ask that the Biennale of Sydney acknowledge the absence of our work from the exhibition. As the Biennale has offered to provide a platform and support for our dissent, we request that our withdrawal be registered on the Biennale website and signposted at the physical site of our projects. In the pervasive silence that the Government enforces around this issue, we will not let this action be unnoticed. We act in solidarity with all those who are working towards a better future for asylum seekers. We hope that others will join us. Libia Castro Ólafur Ólafsson Charlie Sofo Gabrielle de Vietri Ahmet Öğüt Contact:

Mingingo Island, Lake Victoria

Migingo is a tiny 2,000-square-metre island, about half the size of a football pitch, in Lake Victoria. Two Kenyan fishermen, Dalmas Tembo and George Kibebe, claim to have been the first inhabitants on the island. When they settled there in 1991, it was covered with weeds and infested with birds and snakes. Joseph Nsubuga, a Ugandan fisherman, says he settled on Migingo in 2004, when all he found on the island was an abandoned house. Subsequently, other fishermen — from Kenya, Uganda and Tanzania — came to the island because of its proximity to fishing grounds rich with Nile perch. An unusual claim in 2009 by some Kenyan fishermen was that since none of the Nile perch breed in Uganda (the nearest Ugandan land and nearest Ugandan freshwater is 85 kilometres away), then the fish somehow "belonged to Kenyans". The island has a population of about 131 (according to 2009 census), mostly fishermen and fish traders, who are served by four pubs, a number of brothels, and a pharmacy on the island. A rocky and rugged piece of land with little vegetation, Migingo is one of three small islands in close proximity. The much larger Usingo Island is 200 metres to the east of the small white rectangle that is Migingo, and Pyramid Island, the largest of the three, is 2 kilometres due south of Migingo and 11 kilometres north of the Tanzanian border in Lake Victoria.

Artist Jorge Manes Rubio contributes to the Nauru Project

The Amazing History of the Republic of Nauru Jorge Mañes new social design project about the island of Nauru reveals one of the saddest and most unbelievable recent histories of what could and should be paradise. This time Mañes has taken his very social approach to design to tackle the fascinating - albeit devastating - history of the little-heard-of island in the South Pacific, Nauru. The project is organized by DIMAD, Madrid’s design association and is being held at the Matadero Cultural Centre. “They asked me to do something about travelling and I immediately thought about Nauru,” Mañes says. “It is an amazing story and hardly anybody has even heard about it.” The result is part fact, part fiction, which reflects the disbelieving reactions Mañes received when trying to share the island’s facts with his family and friends. “Nobody even believed me,” he says. “They didn’t think it could possibly be true. So I have used facts and fantasy to try to encourage people to dig further and find out for themselves just what happened there.” Nauru was once upon a time a true paradise with less than 1000 inhabitants who mostly fished to survive. In the late 19th century the Germans colonized the place. After World War I it became a League of Nations mandate administered by Australia, New Zealand and the United Kingdom. The Japanese occupied the island during WWII and then the Americans bombed it. In 1968 Nauru finally gained its independence and became a Republic. Thanks to its rich phosphate deposits it was by then the (per capita) richest country in the world. Phosphates come from bird droppings and birds had always migrated to the island in vast numbers. “It was great that the people of Nauru were able to start running their own country and controlling their own resources,” Mañes says, “but the mining was already underway and soon corruption, bad investment decisions and no environmental vision joined forces to create the island’s fate.” Eventually all the natural resources were depleted and the population of 9 000 was left destitute and bankrupt. “It is extraordinary,” Mañes says. “They went from so rich to so poor very quickly. The lesson learned is just how important sustainability really is.” In the exhibition, Mañes presents a diorama, a book and a flag that each play with the viewer’s perception. They flit from seeing the island as a utopia to a disaster area until its fictitious future imagines a once-again paradise overtaken by birds that even have their own flag. Given a second chance the island is run in a less ambitious, more sustainable way. Below is a letter written by a former president of Nauru, Marcus Stephen. It was published in the New York Times. Nauru, 18 July 2011 I forgive you if you have never heard of my country. At just 8 square miles, about a third of the size of Manhattan, and located in the southern Pacific Ocean, Nauru appears as merely a pinpoint on most maps — if it is not missing entirely in a vast expanse of blue. But make no mistake; we are a sovereign nation, with our own language, customs and history dating back 3,000 years. Nauru is worth a quick Internet search, I assure you, for not only will you discover a fascinating country that is often overlooked, you will find an indispensible cautionary tale about life in a place with hard ecological limits. Phosphate mining, first by foreign companies and later our own, cleared the lush tropical rainforest that once covered our island’s interior, scarring the land and leaving only a thin strip of coastline for us to live on. The legacy of exploitation left us with few economic alternatives and one of the highest unemployment rates in the world, and led previous governments to make unwise investments that ultimately squandered our country’s savings. I forgive you if you have never heard of Nauru but you will not forgive yourselves if you ignore our story. (Flag design together with Gianluca Tesauro)

Peter Hansen contributes an unpublished excerpt from his book 'The Nauruan' to the Nauru Project

Imagine living your first forty years in the twentyone square kilometers of Nauru only to live the next twenty years travelling through the remaining countries of the world. That is what happens to Kinza Kun,the main character in 'The Nauruan' by Swedish author Peter Hansen. Is the world big enough for this Kinza Kun, Elvis Presley, the Pope, a Nepalese goddess and a mysterious man dressed only in white clothes? What happens if you collide with the Wailing Wall? Why should you not eat croissants in Turkey? And how on earth could Kinza float like a butterfly up from a car in Burundi? The Nauruan, a book still looking for a publisher or a sponsor, naturally includes frequent episodes from Nauru. When exploring the world Kinza recalls his homeland and keeps in contact with a friend back home. One day the friend no longer answers the phone…

"En svart noddy seglade högt över havet. Stillahavsön under dess vingar hade tilldelats sina rikedomar av havet och himlen. Avfall som levererats från fåglar, skurar och vågstänk hade förvandlats till fosfat. Det hade utvunnits, exporterats och använts för att få andra länder att gro. I samma veva underminerade Nauru sig självt och riskerade att sjunka i det stigande havets kaos. Samma kaos som hade skapat ön var på väg att förgöra den. Kokosnötter kunde fortfarande exporteras i viss skala men var blott provisoriska livbojar. Kinza Kun kisade i solen. På marken intill honom stod en vattentät ryggsäck. I den fanns kläder, hygienartiklar, en svart bok och en världsatlas som varit en fyrtioårspresent tre veckor tidigare. Inpackade i atlasen låg hans första pass och ett par visumhandlingar. Fem meter framför honom stod en skylt som varnade för att lösspringande kreatur som befann sig på flygremsan vid fel tidpunkt skulle skjutas. Kinza visste att hans lilla ö inte var hela världen. Tiden var kommen att se sig om. Han såg upp på den himmel mot vilken han snart skulle lyfta."

"A black noddy sailed far above the ocean. The Pacific island under its wings had been awarded its wealth by the ocean and the sky. Litter delivered from birds, showers and waves had transformed itself to phosphate. It had been mined, exported and used to make other countries flourish. Meanwhile Nauru undermined itself and increased the risk of going under in the rising chaos of the ocean. The chaos that once created the island was about to destroy it. Coconuts could still be exported at a certain amount but they were merely temporary lifebuoys. Kinza Kun peered in the sunshine. Next to him was a waterproof rucksack. It contained clothes, a toiletry bag, a black book and an atlas that had been a gift for Kinza´s fortieth birthday three weeks earlier. Inside the atlas was Kinza´s first passport and a couple of visa documents. Five meters ahead of him there was a sign telling loose cattle that they would be shot if running around on the airstrip at a bad time. Kinza knew that his little island was not the whole of the world. The time had come to explore. He looked up at the sky towards which he was about to lift."

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Carrying the nation's hopes: Meet the weightlifter who is the ONLY Olympics athlete from his tiny country

The entire nation of Nauru measures a minuscule 8.1 square miles, the excited 9,000 population is hoping to win the title

ONLY 9,000 people live in the Republic of Nauru, a tiny Pacific island where bingo night in a rundown hall is the biggest social extravaganza of the week. But while the entire nation measures a minuscule 8.1 square miles, the excited population is hoping to win a massive title at the Olympics. When it comes to having the hopes of your compatriots on your shoulders, weightlifter Itte Detenamo really raises the bar. Itte, 25, will be Nauru’s only competitor at the Games. And it’s the only one-man team. The one advantage of being all on his own is that there has been no debate about who carries the flag at the opening ceremony. So there will be no mistaking Itte when he takes that proud walk at the Olympic Stadium on July 27. Then again, at 5ft 9in and almost 25 stone, he would stand out from the crowd anyway. And he’s not just coming to make up the numbers. He has already smashed the Commonwealth record in his weight category and is being tipped for an Olympic medal. It would make him the biggest hero in the history of the world’s smallest island nation, which is situated in the middle of the Pacific around 2,500 miles north east of Australia. Speaking from his training base in New Caledonia, in the South Pacific, Itte said: “My preparation is going well and I am really looking forward to London. “I have never been to England, only Paris, but I have heard so much about it. It is a beautiful country and I want to go sightseeing after the Games. “It is funny being a one-man team. There is a lot of pressure because I am carrying the hopes of all the people back home. “I have eight sisters and one brother, and they will be watching with my mum, Viola, listening on radio and following the competition via email. They will want to know everything. “My dad, Vinson, is president of the Commonwealth Weightlifting Association so I hope he will be there in London with me. "He is the reason I got into weightlifting. I have been working all through the years for the Olympics. "I know I have to get it right on that one day, and that is what I set out to do. “I am from one of the smallest islands on the planet against the strongest men in the world. "But I believe I can do well. You have to say to yourself ‘anything is possible’.” Nauru gained independence in 1968 but after being hugely wealthy in the 1970s – thanks to the island’s natural resource, phosphate – the economy collapsed in the 90s. There is now 90% unemployment and the highest concentration of obese people in the world. But Itte is bringing pride back to the nation. His legendary coach, Paul Coffa, said: “Itte is an ­incredible young man. "He is up against some of the biggest nations in weightlifting, Iran, Russia and China with its billion-strong population, and yet he is ranked seventh in the world from an island with less than 10,000 people. "Iran wants to have the strongest man in the world because that is important to their culture. “They are investing millions to win the gold in the super heavyweight. “But the Pacific nations’ record is an incredible story. Their build, with strong shoulders and legs, means they have tremendous potential in weightlifting and rugby. "Itte was just eight stone when he started at nine years old. Now he is the strongest man in the Commonwealth.” Itte got involved in the sport through his older sister and dad Vinson, Nauru’s former finance minister. Ex-President Marcus Stephen is the nation’s most successful ever athlete, a weightlifter who competed at the Atlanta Olympics in 1996 and Sydney in 2000. He won seven gold and five silver medals at Commonwealth Games. His success meant weightlifting become Nauru’s favourite sport. When Itte was 10, his dad took him to a gym to get tips from the former president. Now, Itte trains for six hours a day. And with the help of fiancée Christiane, 24, who is a civil servant, he follows a special diet rich in carbohydrates. The hard work has clearly paid off. He competed at the Olympics in Athens in 2004 and Beijing in 2008. And he has won bronze and silver medals at the Commonwealth Games. Two years ago he rubbed shoulders with Hollywood heavyweights Arnold Schwarzenegger and Sylvester Stallone at an event in the US. Itte is now ready to write the script at the Olympics this summer so he can take a medal and a gigantic smile back to the tiny island of Nauru.


The Nauru Project is part of Hosted In Athens 22-29 May online

Hosted in Athens has invited groups of artists and collectives of different background and nationalities to present their activity in various buildings in the centerof Athens through a series of events and exhibitions. The project intends to articulate and organize its potentials in the area of the historical centerof Athens and to involve public and private venues that can host its program in the means of hospitality. The project seeks to advocate the local art scene and to introduce the work of international artists to the broader Athenian public. To provide the conditions for dialogue and collaboration between groups, communities and individuals and to establish connections between the cities involved emphasizing on the essence of networking and collectivity. The participatory groups will be able to display their joint collaborations, shows and events in the context of a broader perspective that includes artists, curators, institutions and host venues. The aim of the project is to underpin the importance of collaboration, the individual participation and the exchange between different art scenes and to indicate new ways of working that embrace the values of exchange and hospitality. Hosted In Athens is organized by Daily Lazy Projects /////////////////////////////////////////////////// Programme Hosted in Athens - Venues open on Tuesday 22 May 18.00 23 May-29 May from 18.30 to 21.30 Tuesday 22 May (opening) 20.30 at Epaskt, Tholou & Panos 19A performance directed by Claudia C. Linder, performer Nora Jacobs (Expograph Presents: Down to the Core [did the bird tell the white horse to go into the haunted garden?] ) 22.30 party at TEMPORARY SPACE ELAIONAS forthcoming SOUZY TROS, Markoni 8 (Elaionas metro station) Wednesday 23 May 19.00 at Theater Embros, Riga Palamidou 2 Presentation of the group Omada Filopappou 20.00 at 3 137, Mavromihali 137, Neapoli The project space 3 137 presents the show 2+2= 5 by Foteini Chandra & Konstantinos Pettas Thursday 24 May 19.00 at Theater Embros, Riga Palamidou 2 Under Construction presents NLP(Neuro-Linguistic Programming) Friday 25 May 20.00 at 3 137 Mavromihali 137, Neapoli 3 137 presents FIRST COME FIRST SERVED Monday 28 May 20.00 at Theater Embros, Riga Palamidou 2 Presentation of the group Provo Principles //////////////////////////////////////// Host venues OpenShowStudio, Ag. Eleousis 14 & Protogenous Six Dogs, Avramiotou 6-8 Epaskt (The Association of Graduates of Athens School of Fine Art), Tholou & Panos 19A SKOUZE3, Skouze 3 TEMPORARY SPACE ELAIONAS forthcoming SOUZY TROS, Markoni 8, Elaionas metro station The Association of Greek Archaeologists, Ermou 136 Theater Embros, Riga Palamidou 2 3 137 Mavromihali 137, Neapoli //////////////////////////////////////////////////////////////////// Participants BEST-OFF/Vlorë, Blightman Bofiliou/Berlin, Daily Lazy Projects, Athens, Expograph/Vienna, Front Views/Berlin, GRUPPE UNO WIEN/Vienna, Les Editions Horror Vacui/Paris, Lykakis Karamanolis/Athens, MUD OFFICE/Paris, Nauru Project/Online, Niemandsland/Vienna, P O S T/Athens, SKOUZE3/Athens, Spazi Docili/Florence, collective,Trace/London, Under Construction/Athens, XYZ/Bratislava, Versaweiss/Athens, 3 137/Athens /////////////////////////////////////////////////////////////// Parallel events The project space 3 137 presents the show 2+2= 5 by Foteini Chandra & Konstantinos Pettas, Mavromihali 137, Neapoli, Athens, opening Wednesday 23 May, 20.00 Presentation of the group Omada Filopappou at Theater Embros, Wednesday 23 May 19.00, Riga Palamidou 2 Presentation of the group Provo Principles at Theater Embros, Monday 28 May 20.00, Riga Palamidou 2 ///////////////////////////////////////////////////////// Media Partners: FlashArt SK/CZ, Art Act Magazine, elculture, GrandMagazine, ArtAZ, LIFO, Create an Accident, SOUTH, ARTaujourdhui, artplaces, interartive, DailyLazyBlog, Connecting Cultures, artnews, Visual Arts in Greece, radiobubble With the support of: Austrian Embassy of Athens, Athenian Brewery, Dougos Winery, Athens - Attica Hotel Association, bm:uk, Andreas Melas & Helena Papadopoulos, Athens Atrium Hotels, Novotel Hotels, Electra Hotels, Yes! Hotels Group

Dan Coopey
Industrial Landscape, 2012

Fly Away Simulation Images

Nauru Island Scenery

Fantasy Island Pennsylvania Scenery

Ni'ihau-The Forbidden Island Scenery

Sea-threatened Kiribati mulls moving people to Fiji

The low-lying Pacific island nation of Kiribati is considering buying land in Fiji to resettle its population which is threatened by rising sea levels. Kiribati's President Anote Tong says he is involved in talks with the Fijian government to purchase land on Vanua Levu - Fiji's second largest island. Mr Tong says this is the last resort to save more than 100,000 islanders. Some of Kiribati's 32 coral atolls - which straddle the equator - are already disappearing beneath the ocean. None of the atolls rises more than a few metres above the sea level. Mr Tong says that climate change is a daily battle for Kiribati - but admits that it is one that his country would ultimately lose. However, relocating the entire population to Fiji - more than 2,000km (1,300 miles) away - would be a monumental challenge, the BBC's Phil Mercer in Sydney reports. Kiribati's officials hope that many people would also be allowed to settle in other countries in the vast region, including Australia and New Zealand. Previously, Mr Tong suggested constructing man-made islands resembling oil rigs for people to live on.

BBC © 2012

The Island of Dr Moreau

H.G. Wells - Author
Margaret Atwood - Introduction by
Steve Maclean - Notes by
Patrick Parrinder - Editor

Adrift in a dinghy, Edward Prendick, the single survivor from the good ship Lady Vain, is rescued by a vessel carrying a profoundly unusual cargo - a menagerie of savage animals. Tended to recovery by their keeper Montgomery, who gives him dark medicine that tastes of blood, Prendick soon finds himself stranded upon an uncharted island in the Pacific with his rescuer and the beasts. Here, he meets Montgomery's master, the sinister Dr. Moreau - a brilliant scientist whose notorious experiments in vivisection have caused him to abandon the civilised world. It soon becomes clear he has been developing these experiments - with truly horrific results.

© 1995 - 2011 Penguin Books Ltd

January 31st - Nauru National Day

Nauru celebrates its national pavilion day at the World Expo in Shanghai 2010.

Manila, Philippines – Nauru celebrates its National Day today. Located in the Western Pacific Ocean, Nauru is an oval-shaped island which is located 42 kilometers south of the equator. The island is the world’s smallest island nation, just 21 square kilometers. The nearest country to Nauru is Kiribati, whose Ocean Island is 350 kilometers to the east. The island was initially named “Pleasant Island” by English visitors in the 18th century. The present inhabitants of Nauru are of mixed Polynesian, Micronesian, and Melanesian races. About four-fifths of the people are Christians. Nauruans and English are the main languages.
During the first half of the 20th century, Nauru was a “rentier state,” a term to describe those states whose national revenues are mostly derived from renting indigenous resources to external clients. These Nauruan resources came from phosphate reserves. As early as 1907, Nauru was a major exporter of phosphate. However, in the 1980s, the phosphate deposits ran out after numerous years of mining.
Nauru is a member of various regional and international organizations. These include the United Nations, Pacific Islands Forum, the South Pacific Regional Environmental Program, Commonwealth of Nations, and the South Pacific Applied Geoscience Commission.
Commercial and agricultural exchanges have been active between the Philippines and Nauru. The linguistic, religious, and ethnic affinities between our two peoples are responsible for the close bilateral relations.
We greet the people and government of Nauru led by H.E., President Sprent Dabwido, on the occasion of its National Day. We wish them the best and success in all their endeavors. MABUHAY!

Copyright © 2012 Tempo – News in a Flash. All rights reserved.

The Nauru Project Workshop @ Frown Tails, ReMap KM 3

Saturday 24/9/2011

The Nauru Project is an on-going artists' collaboration based on the South Pacific island of Nauru, the world's smallest island nation. The project involves exchanging information on the history of the island and other related subjects as well as the creation of artworks as a result of this pool of findings.
The workshop will focus on examining online findings relating to Nauru and its history in relation to colonialism and the West as well as other links and information relevant to island themes, self-declared micro-nations, experimental states, artists’ residencies and projects on islands as well as fictional islands and non-territorial internet states.
Maria Georgoula will present the project’s collaborators, ongoing research, artistic function and its relationship to the internet while participants of the workshop will then be invited to trace their individual online path around above subjects while using the blog as a basis and while being guided by the artist. The purpose of the project will be exploring the material provided, creating new links and enriching it by contributing their own findings and sharing their own approach to the above themes with the rest of the group in the form of discussion and presentations.

Recycled Island

P.O.Box 11087, 3004EB Rotterdam, Netherlands
Recycled island is a proposal to make a new floating island, from the existing plastic waste that is floating in our Oceans.

Recycled island is a research project on the potential of realizing a habitable floating island in the Pacific Ocean made from all the plastic waste that is momentarily floating around in the ocean.

The proposal has three main aims; Cleaning our oceans from a gigantic amount of plastic waste; Creating new land; And constructing a sustainable habitat. Recycled island seeks the possibilities to recycle the plastic waste on the spot and to recycle it into a floating entity. The constructive and marine technical aspects take part in the project of creating a sea worthy island.

The main characteristics of the island are summarized:
1. Realized from the plastic waste in our Oceans. This will clean our Oceans intensely and it will change the character of the plastic waste from garbage to building material. The gathering of the plastic waste will become a lot more attractive.
2. The island is habitable, where it will have its value as land capturing and is a potential habitat for a part of the rising amount of climate refugees.
3. The habitable area is designed as an urban setting. Nowadays already half of the World population lives in urban conditions, which has a huge impact on nature. The realization of mixed-use environments is our hope for the future.
4. The island is constructed as a green living environment, from the point of view of a natural habitat. The use of compost toilets in creating fertile ground is an example in this.
5. It is a self sufficient habitat, which is not (or hardly) depending from other countries and finds its own resources to survive. The settlement has its own energy and food sources.
6. The island is ecologic and not polluting or affecting the world negatively. Natural and non polluting sources are used to let the island exist in harmony with nature.
7. The size of the floating city is considerable in relation to the huge amount of plastic waste in the Ocean. The largest concentration of plastic has a footprint the size of France and Spain together. Starting point is to create an island with the coverage of 10.000Km2. This is about the size of the island Hawaii.
8. The location is the North Pacific Gyre, where at this moment the biggest concentration of plastic waste is discovered. This is geographically a beautiful spot North-East to Hawaii. By recycling and constructing directly on the spot with the biggest concentration of plastic waste, long transports are avoided. Because of the floating character the position could eventually be altered.

The Nauru Project @ Frown Tails ReMap 3

Το Nauru Project είναι ένα συνεχές, διαδικτυακό, συνεργασιακό project με θέμα το νησί Ναουρού, το υπο-πτώχευση μικρότερο νησί-κράτος στον κόσμο. Με βάση το blog (, το project περιλαμβάνει την ερασιτεχνική συλλογή και ανταλλαγή ποικίλων πληροφοριών γύρω απο το νησί Nαουρού, καθώς και την παραγωγή καλλιτεχνικού έργου με βάση τα σχετικά ευρήματα.
Φιλοξενούμενοι της ομάδας Frown Tails, οι συντελεστές του Nauru Project θα επιχειρήσουν τη δραματοποίηση διαδικτυακών πληροφοριών που υπάρχουν στο blog, μέσω ατομικών tutorials.

Σάββατο 24/9
To workshop επικεντρώνεται στην ανταλλαγή συνειρμών και τη συλλογή ευρημάτων. Mε αφετηρία το νησί του Nauru, oι συμμετέχοντες καλούνται να προσθέσουν στο project το προσωπικό τους διαδικτυακό μονοπάτι. RSVP to

Πέμπτη 29/9, Παρασκευή 30/9
Performers: Πολυξένη Σάββα & Θανάσης Πετρόπουλος
Από τις 17.00- 20.00 παρουσιάζονται προσωπικά tutorials. RSVP to
Open Performance: 20.30

Η Μαρία έχει συμμετάσχει σε ομαδικές εκθέσεις όπως: ‘I Do’, Six Dogs Project Space, Αθήνα, ‘Trace’, Sanhe Museum, Χανγκζού, Κίνα, ‘Meteor’, New Court Gallery, Ντάρμπισαϊρ, ‘Giatrakou 28’, ReMap KM 2, Αθήνα, ‘The Culture Industry: Folklore & Clichés’, VOX, Αθήνα, ‘VANM’, Slade Research Centre, Λονδίνο, ‘Urchin Eater’, Yinka Shonibare/Guest Projects, Λονδίνο, ‘Illumination’, Service Point Building, Μάντσεστερ, ‘Calypso’, Videotheque, Sala Rekalde, Μπιλμπάο, ‘Taenu’, Tactile Bosch, Κάρντιφ και ‘The Works of Others’, Whitechapel Library, Λονδίνο. Το 2010, η Γεωργούλα πήρε μέρος στα residencies ‘Kardamili Project’ στην Μάνη και ‘Utopia Project’ στο Ρέθυμνο, ενώ τον Μάρτιο του 2011 το βρετανικό περιοδικό ArtReview την συμπεριέλαβε στο ετήσιο αφιέρωμα ‘ArtReview Future Greats 2011’

Nauru Project, Maria Georgoula

The Nauru Project is an ongoing artists' collaboration based on the collection of information regarding the South Pacific island of Nauru, the world's smallest island nation.
The contributors of the Nauru Project will attempt to dramatise the multiple information of Nauru Project’s blog, via individual’s tutorials given to public and an open performance.
Saturday 24/9
This workshop focuses the collection of digital findings related to Nauru island. The participants are invited to create their personal internet path.RSVP to
Thursday 29/9,Friday 30/9
Performers: Polixeni Savva & Thanasis Petropoulos
Book your personal slot from 17.00- 20.00 at
Open Performance: 20.30

Maria's selected group exhibitions include; ‘I Do’ at Six Dogs Project Space, Athens, ‘Trace’ at Sanhe Museum, China, ‘Meteor’ at New Court Gallery, Derbyshire, ‘Giatrakou 28’at ReMap KM 2, Athens, ‘The Culture Industry: Folklore & Clichés’ at VOX, Athens, ‘VANM’ at Slade Research Centre, London, ‘Urchin Eater’at Yinka Shonibare/Guest Projects, London, ‘Illumination’ at Service Point Building, Manchester, ‘Calypso’ at Videotheque, Sala Rekalde, Bilbao, ‘Taenu’ at Tactile Bosch, Cardiff and ‘The Works of Others’ at the Whitechapel Library, among others. During 2010, Georgoula took part in the ‘Kardamili Project’ residency in south Peloponnese and the ‘Utopia Project’ residency in Crete. In March 2011, Georgoula was included in ‘ArtReview Future Greats 2011’ the annual feature by the British magazine.