The Slovenian media artist and curator discusses his networked environmental sculptures and data transparency in the age of climate change

Martin Bricelj Baraga’s latest Cyanometer (2016–) is unveiled in front of Geneva’s Museum of History of Science, the very institution that keeps Horace Bénédict de Saussure’s original instrument from 1789. Fourth in a growing network of distributed public sculptures, Baraga’s reflective monolith measures (and archives) the blueness of the sky as well as air pollution, allowing for comparative analysis between the cities of Ljubljana, Wrocław, Dresden, and now Geneva.

Hailing from the future, Mapping Festival “2051” returns to Geneva with “deviant art and electronics.” Over the course of ten days, works by Frederik de Wilde, Anne Horel, Jonghong Park, 1024 Architecture, Cie Ultra and others are exhibited and performed across the city. Robert Seidel, for example, is set to project his light work Tempest onto lake Geneva’s iconic water fountain while onshore, Ted Häring’s totemic sound sculpture ANTNA (image) imitates the “disturbing majesty” of cellular 4G/5G antennas.

To dive deeper into Stream, please or become a .

Daily discoveries at the nexus of art, science, technology, and culture: Get full access by becoming a HOLO Reader!
  • Perspective: research, long-form analysis, and critical commentary
  • Encounters: in-depth artist profiles and studio visits of pioneers and key innovators
  • Stream: a timeline and news archive with 1,200+ entries and counting
  • Edition: HOLO’s annual collector’s edition that captures the calendar year in print
$40 USD