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Fig. 2.21
Historia
by Naoko Tosa (
2011
). Augmented Reality. Users compose messages by
appropriating historic icons floating in the space and assigning a new meaning to their message.
Seen in front of the Giardini Central Pavilion
address the questions raised by the intervention. (Aceti et al.
2013
) Richard Rinehart
invited us to intervene in his Samek Gallery in Lewisburg, Pennsylvania on the same
day that we opened at the Venice Biennale - and titled the exhibit “Not Here” to
celebrate the fact that the artworks were present even though the gallery was closed
for the summer (Rinehart
2011
). Later that fall Lanfranco, as director in Istanbul of
both ISEA2011 and the Sabanci University Kasa Gallery, invited us to position our
Venice artworks in the Kasa Gallery to create the show “Not There” (Aceti
2011
;
Manifest.AR blog
2011
) as part of the ISEA2011 exhibition UNCONTAINABLE,
an official parallel program to the Istanbul Biennale.
For the city-state of Venice, the city of Constantinople/Istanbul was a constant,
looming presence both culturally and politically. In the early centuries Venice was
part of the Byzantine Empire and owed allegiance - and taxes - to Constantinople,
the great capital of eastern Christendom and seat of the Empire. In 1204 Venice's
Doge Enrico Dandolo diverted the Fourth Crusade, bound ostensibly for the
Holy Land, to Constantinople to sack the city and break its control over Venice.
Weakened, Constantinople never fully recovered and finally fell to the Ottoman
invaders in 1453. The lavish booty from Constantinople that adorns the Basilica San
Marco in Venice turned however to poisoned fruit, as the renamed city rose to rival
Venice in the Mediterranean as Istanbul, the great Muslim capital of the Ottoman
Empire.
After World War I the Ottoman Empire fell apart, surviving only as the much-
reduced country of Turkey, and Istanbul fell into the melancholic slumber poetically
