7:["$","div",null,{"className":"Home","children":[["$","$c",null,{"children":["$","div",null,{"className":"Hero"}]}],["$","div",null,{"className":"Home__div Home__events","id":"Events","children":[["$","div",null,{"className":"Event","children":["$","div",null,{"className":"Event__main","children":[["$","div",null,{"className":"Event__title","children":"Soft Landings Editions"}],["$","div",null,{"className":"Event__content","dangerouslySetInnerHTML":{"__html":"

For Soft Landings Editions, 21 artists were invited to produce editions to be contained, displayed and sold within the Soft Landings heavy-duty transport cases.

Each box constituted a future-proof, portable white cube exhibition, the contents of which grant the viewer insight to a possible contingency scenario. This examination of the materiality of contingency prevention is extrapolated to issues of artist precarity - can the reduction of arts funding and inevitable financial obsolescence be derailed by disaster prevention techniques?

This marked the beginning of an editions platform, where artists might access an economy based on the material specifications of the worst case scenario.

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For the Soft Landings Showroom (2018), 200 white, heavy-duty transport cases were commissioned from a factory in Ningbo, China. These cases purport to be future proof, totally resistant to water, dust, shock and impact. They will live for a far longer life than any visitors to the Showroom. For this reason, they took their rightful place as the protagonist in an examination of a fully materialised aspect of industrial speculation: the product testing phase.

The boxes were exhibited in an expanded view of industrial testing cycles, incorporating handmade wind, impact and water testing machines, speculative roleplay and algorithmic supposition.

The Soft Landings Showroom is an expanded view of industrial testing cycles made to determine the performance and functionality of an object by its compliance to human interaction and natural circumstances.

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An artist initiative by Eurico Sá Fernandes, Alban Karsten, Kitty Maria and Tom Kemp, Soft Landings appraises the industrialised speculation on unfortunate events and disaster: the corporate tendency to favor the worst case scenario –from a scratch or a burn to (extraterrestrial) attacks and solar flares – and come with solutions of disaster preparedness.

In Ningbo, China, they commissioned 200 white heavy-duty impact-, water-, dust-, and future-proof transport cases. These boxes each house a series of artist editions to become sold as a disaster oriented Christmas basket, the favourite annual offering from employer to employee.

Through their exhibitions and sales-events, Soft Landings examines the one-man assembly line, alternative gift economies and the semiotic gaps of product designing through Alibaba.

"}}],["$","div",null,{"className":"Info__bios","children":[["$","div",null,{"className":"Bio","children":[["$","div",null,{"className":"Bio__title","children":"Eurico Sá Fernandes"}],["$","div",null,{"className":"Bio__text","children":[["$","p",null,{"dangerouslySetInnerHTML":{"__html":"Eurico Sá Fernandes (Porto, PT) is an artist, designer and web developer whose work explores systems of reason and interaction with a particular focus on ecology, language, encryption and artificial intelligence. He currently lives and works in Amsterdam."}}],["$","div",null,{"className":"Bio__link","children":["$","a",null,{"href":"https://eurico.ws","target":"_blank","rel":"noopener noreferrer","children":"eurico.ws"}]}]]}]]}],["$","div",null,{"className":"Bio","children":[["$","div",null,{"className":"Bio__title","children":"Alban Karsten"}],["$","div",null,{"className":"Bio__text","children":[["$","p",null,{"dangerouslySetInnerHTML":{"__html":"The practice of Alban Karsten (Groningen, NL) incorporates a combination of sculpture, performance and installation. In his work he considers potential roles of the artist and his audience by using the codes of work, labor and action. In performances about ‘production overdrive’ (Daily Solo Show, 2016), ‘the pain body’ (The Guide, 2017) and ‘the aesthetics of danger’ (Mitigations, 2018), he investigates how to plant collective sentiments and mobilize a group towards an abstract purpose."}}],["$","div",null,{"className":"Bio__link","children":["$","a",null,{"href":"https://eurico.ws","target":"_blank","rel":"noopener noreferrer","children":"eurico.ws"}]}]]}]]}],["$","div",null,{"className":"Bio","children":[["$","div",null,{"className":"Bio__title","children":"Kitty Maria"}],["$","div",null,{"className":"Bio__text","children":[["$","p",null,{"dangerouslySetInnerHTML":{"__html":"Kitty Maria (Ottersum, NL) is an installation and performance artist working and living in Amsterdam. In her work she often befriends corporations or shops to intervene in the places of labour or to submit to the production process herself. The work comprises as an ongoing investigation into the automated production site and the new laborer."}}],["$","div",null,{"className":"Bio__link","children":["$","a",null,{"href":"https://kittymaria.com","target":"_blank","rel":"noopener noreferrer","children":"kittymaria.com"}]}]]}]]}],["$","div",null,{"className":"Bio","children":[["$","div",null,{"className":"Bio__title","children":"Tom Kemp"}],["$","div",null,{"className":"Bio__text","children":[["$","p",null,{"dangerouslySetInnerHTML":{"__html":"Tom Kemp (London, UK) addresses the consequential tangle of bureaucratic and economic systems on intimate relationships. Roleplaying game methodology is used to combine co-design practices, gamification and genre theory into a method of subjective modelling and analysis. This process generates film and installation where murky subject matter is rendered increasingly visible, alien and absurd."}}],["$","div",null,{"className":"Bio__link","children":["$","a",null,{"href":"https://tomkkemp.com","target":"_blank","rel":"noopener noreferrer","children":"tomkkemp.com"}]}]]}]]}]]}]]}]}]]}]