Firewood and battery-powered torches are the primary sources of light among the displaced community in Ethiopia, which prove to be challenging to collect or expensive to maintain. Internally displaced women and girls can be highly vulnerable to risks like gender based violence with displacement camps often located far from major infrastructure such as electricity.
Ader and her daughters say they always put it on when they head out to meet with neighbours after dark. “We have received water, food, and other essential items. Almost as important to us now is this light. It has become a real little sunshine in our house. We use it at night to cook and organize our place. Our house is much brighter. Now we spend hours talking around the light,” the mother said, explaining how the Little Sun has brought the family together around it. “Without this light it was dangerous to walk around outside at night.”
IOM - United Nations Migration Agency teamed up with Little Sun to bring an innovative, environmentally conscious alternative of solar lights to better equip displaced families to overcome such challenges. To date, over 20,000 Little Suns were distributed to internally displaced women in Ethiopia through IOM. The dignity kits accompanied 21,535 emergency shelter and core relief packages distributed by IOM in 2017.
Learn more about the Little Sun Foundation
Reality projector, Marciano Art Foundation, Los Angeles.
Sound recordings at the studio. This audio library was sent to the musician and sound artist Jónsi, who selected, mixed, and arranged the material in dialogue with Olafur into an ambient soundscape to accompany the artwork Reality projector
Join us this Saturday at 5.30 pm at Ras Hotel, Addis Ababa for Poetry Jazz: Wax and Gold - Live concert in Amharic, English, German. The event is an experimental get-together of acclaimed poets and musicians, joining in an exercise of styles and improvisation. They engage in investigations of the geographical places that are based on a plethora of acoustic sources, ranging from traditional flute playing to the latest urban field recordings. Continual shifts in languages, reiteration, fragmentation, translations and re-translations, as well as changes in metres and rhythms, create awareness of the subtle divergences of meaning that can be attributed to social and cultural influences, while exploring the gains and losses of such unspoken and outspoken interactions. www.soe.tv
Two unthought thoughts at the Red Brick Art Museum, Beijing. The exhibition The unspeakable openness of things opens on Sunday
Your embodied garden, 2013, Master of Nets Garden and the Lion Grove Garden, Suzhou, China.
"What particularly interests me about the scholar’s garden are its various temporal aspects: the creation of the garden, the cycle of changing seasons, but also the visitors’ physical moving-through its convoluted and intricately linked spaces. What I find so inspiring is that these different notions of time passing are taken as explicit co-producers of the garden. When I went into the scholar’s garden, I saw the garden, but I also saw the limits of what I could see; I saw the construction of my own way of seeing things. I used the garden to reflect myself. It was gardening me, so to speak, and it was also gardening Steen’s body. It directed his relatively minimal movements, with me giving choreographic input on an intuitive and emotional level: Steen ‘becoming’ a garden, a tree, or a rock, but also becoming a user of the garden, of its conditions. This meant inversing our perspective, to look at the body as a result of the garden, not the other way around." www.soe.tv
The newly launched Little Sun Foundation is an extension of the Little Sun social business. The Foundation’s mission is to bring solar energy to the most vulnerable communities worldwide who are off the grid and beyond the reach of entrepreneurial distribution models. These communities include remote schools, refugee camps, and people affected by natural disasters. The Solar Kids School Program is the Little Sun Foundation’s first official project and has already successfully raised funds for 3200 solar lamps in rural Rwanda Solar Schools Programme
“The work is built around highly saturated color produced by shining intense beams of pure white light through monochrome gels. Essentially derived from the film process known as Technicolor, a movie staple launched in rudimentary form a century ago and honed to a fine edge after World War II, the installation resonates against its Hollywood context. Eliasson has deconstructed the process into something new and exhilarating. Two mechanized, high-intensity light projectors are set on tracks in the theater gallery’s rafters. At variable speeds they slowly traverse the big space, sliding back and forth. Gels in cyan, magenta and yellow have been inserted into openings between the linear and triangular structural beams holding up the roof. As the tracking light passes through the gels, rectilinear shapes in bright, vibrant colors are projected below onto an enormous screen and set into motion at the far end of the room. One reason the work is so eye-grabbingly vivid is that, unlike the electronic pictures flooding across mobile devices and television screens or the ubiquitous computer-generated imagery in movies today, color in Eliasson’s immersive installation is not broken up into pixilated bits hovering in blackened soup. The color is instead pure. The picture is a “reality projection,” and it is beautiful in the extreme. Excerpt from Christoper Knight's review of Reality projector in Los Angeles Times