about ViromeCaravan

It looks somewhere between ridiculous and ludicrous – this Virome Caravan “thing”.

Yet, since this “Virome Caravan Thing” is done in full display of all sorts of vulnerabilities and intimacies –
perhaps Virome Caravan helps to bring questions of aesthetics, to do with power, that we might have grown to take for granted?

Power aesthetics that are revealed to bite fanged full and utterly bare through covid oriented times?

ViromeCaravan got made for under £200, and while testing, and it broke twice. (I’m not much of a DIY person really.)

The current ViromeCaravan moves from one place to another like a virus since directions aren’t enforced but afforded.
Motion is done through a combination of pulling – either through skateboarding or by walking.
(Afforded motion – as in to be un-opposed, moving-on and get something done without enforcement.)

Viral infections move from one host to another when cells afford viruses an entry. In a similar way, the ViromeCaravan moves between places when and where it is allowed. Moving into to such and such place, this or that environment, comes with ease – without enforcement.
Therefore its hard to tell, from one day to another, where the ViromeCaravan will go to, and when.

As a creature, the ViromeCaravan has a few peculiar inter-related dynamics.
Traveling creates frictions, while frictions offer possible range of dynamics and movements. Through these symbiotic connections between traveling, movements, and their cross negotiation dynamics –
short reflective texts in forms of diagrams (PersonalBows) are created, collected, and shared.

PersonalBows are written with chalk on the caravan’s body. This way other elements (eg rain, winds, walls, trees and such like) get to leave their frictive marks with the texts. Rains may erase texts, winds smudge letters and trees that host birds – offer poo marks.
All these come together as elements negotiating each other by need rather than force.

This way, the ViromeCaravan operates as a port through which various kinds reflective frictions are made, shared and later, may come spewed as a new specific language of aesthetics.

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#viromecaravan – brighton seafront #

* Images by Simon. Many grateful Thanks!

Taken a pic or a clip?

about else thoughts

#viromecaravan art and documentation?

Since around the 1950s and 60’s, it has become traditional for art and cultural projects to use documentation as a way of dissemination, circulation, and evidence generation of activities and related works.

Through such practices we get various kinds of documentation critique. Ideas that critically engage with specific modes of documentation. For example, photography philosophy that claims events, works and projects are made for the camera.
If cameras have not witnessed such and such act, did the action occur? (A claim that may find contemporary resonances from humans going on civil-rights demos just to get instagramed, through to sentiments that when activities are not shared online – it is as if they never happened, and art oriented works like “How Not To Be Seen” by Hito Steyerl.)

I think that documentation has a range of aesthetic enclosures of entertainment – walled gardens made of transparent bricks. Yes – documentations, like Anderson’s emperor, come naked IMHO.
For example:
Documentary dynamics create binary aesthetics made of contemplating Work/Project as a set Reality on one side, and a “documenting” Image/Representation of that reality on another side.
A dynamic which obfuscates the fact that any record is a measurement measuring itself. (hence the cultural conflicts between measurements. Like between metric and imperial.) A binarism that considers a reality beyond the documentation. Something that documenting materials come as an evidence for.
While this may sound like dismissing a real beyond the means of perception – as if the “real” comes only as the Means of perception, the ideas here are slightly different.
A difference which requires clarification since there’s a connection with the idea of creating an aesthetic language.
To put it somehow crudely:
Yes, the viromecaravan moves as a reality.
However, documenting that, focuses attention on the subject – ie viromecaravan as a reality – rather than the fact that via the documentation we spontaneously have new dynamics – hence new realities emerge. Reals that were not there prior to documentation.
A friction between such and such documentational manner, and the viromecaravan brings a new In-Between. Such In-Betweens, such Intervals, rather than images, texts, sounds and other documentation processes – come to life – such intervals are realities in and of themselves, as much as the caravan is.

While its clear that for certain cultural and art activities documentation of some kind or another is imperative, else the whole effort, the whole set of gestures may evaporate like a fang bite from a cloud –
I think How the documentative process operates has a range of resonances and connections which may require, at the very least, new questioning and approaches.

Documentation questioning occurs in various ways through activities I am connected with.

The radical way is to abandon documentation by:
opening up for other elements to get involved in whatever effort is taken.
Considering activities as Ports that create languages to escape. IE
do we need to document the language of Cinema? Computing? Networking? Painting? Philosophising? English? and so on?
Sure, we get documents, data in one way or another that offer suggestions on How to do these languages. However such documents operate as ways of sharing ideas on how to evolve such and such language – they are part of the language’s evolution.
Indeed, when languages begin to come documented as a reality – such documentation comes in ways of and for preservation. An attempt to keep a record of something that’s eminently dying.

about else

bird poo colours in the rain?

Last night I parked the under a rather leafy tree.
By the morning’s light some things came clearer than in the sincerity of darkness.
Throughout the night there were noises, hushed bloop like. Sounded like large drops of rain.
I was tried, or so my excuse goes – so managed to convince myself, against all other evidence and indeed under a tree circumstance – that it was raining.
Well.. More like raining poo. Birds poo with great generosity. A spontaneous generosity when we notice the nobility of birth in the genealogy of the poo magnanimity.
Another kind of rain will come later.

There were 3 almost distinct poo colours on the caravan’s blackness. Light greys, Light browns, and blackberry purples. They were arranged, almost in rows browns at the top, purples down the curve, and greys in between.

They were left, as marks of poo reflections from birds. Humans thought i should “clean” them markings up. I think some felt some kind of disgust or revulsion.
Perhaps the fact that I, an animal who can exercise will-to-wash, did not clean – was the very sense of their revulsion.
I might be that by not cleaning – other humans felt some kind of a violence from me?

As the case was.. A few hours went by, and then some highly porous water oriented rain came to wash most of the birds poo off the caravan.

Now we have something going on between clouds, winds, rain, viromecaravan, and bird poo – nothing for humans to poke noses into too?

about Images Media news thoughts

Taken a pic or a clip?

Some people take images of the caravan in various ways.

In case you are one of them humans – if you ping me, I’ll post your images with a link to you, in case you are cool with that.

Any documentation of stuff to do with the viromecaravan, fails to seem relevant coming from me.
A Concised version of the notion is that:
Documentations have their own languages, own projections and idea kinds. Since the stuff I do is inspired by documentation practices – eg, the interest is in languages and other dynamics coming from one practice or another – doing documentation myself will be an over the top activity.

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Recent images?

* Images by Simon. Many grateful Thanks!

Taken a pic or a clip?

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Questions from Kids?

I was in Brighton’s open market today.

Parked the ViromeCaravan and did some work while waiting for a friend to come.
As it happened, a group of kids was having lunch near where the viromecaravan was parking.

The kids’ curiosity was a bit of a mind opening and welcomed to boot.

Some kids looked inside the ViromeCaravan:

I think they asked things adults – or some adults – may fancy asking, but fail to allow themselves.(?)
(Perhaps it’s an utterly mistaken assertion, however, intuitively it feels something in that vicinity..)

Lets’ find out?

In case you happen to be an Adult – would you ask:
Q: Where is Your kitchen?
It’s small minimal and consists of a packed stove + gas, a single pot and a foil wrapped flat base. Since I eat mostly raw foods, the usage is manly for making coffee/tea.

Q: Where do you sleep?
An eva mat and a sleeping bag.

Q: How do you go to toilet?
I have something a bit like a potty.
However, when possible, I use publicly available facilities..

Q: How do you clean?
I have a wet-able towel and wipes when weather allows.
Dry cleaning spay for other times.

Q: Where are your bike??
I move with a skateboard and walking.

A few kids got to lift the bit i use for carrying the caravan.
I think they agreed it’s less heavy than they thought.

about Images Media news

Images of Inside the caravan?

about Images Media

images slide testing too

about Images Media

Testing the caravan

A couple of still images with a skateboard.

Caravan tesing

testing the caravan


An art oriented background

As various kinds of cultural imaginations oriented practices, art escapes through ports.
Traditionally, art ports, aren’t all to different from the Whitney museum’s website section for internet oriented art – “art-port”.
Therefore we can say that art linked practices escape theaters, galleries, museums, festivals and such like. A cinema may come to allow certain films to escape into a wilderness of human culture. In the example of theatres – with some similarities shared by cinemas, galleries, or biennials – we get ports that are seemingly oblivious to the content they allow to get spewed. A theatre may one day port a puppet show like “Shakes and Shav” (, a standup comedian by night, and on another occasion – a film may be presented as well.

(VC does oposite – PORT that is general stuff may find a hard time with. We use specific materials, specific shapes, manners and so on to get into a general and abstract aesthetics spewed.)

Unlike a general kind of ports, the ViromeCaravan offers a different porting dynamics and sequences. Instead of operating as a shell through which various kinds of content is given an escape –
through the ViromeCaravan we get a sequence of frictions that might – immediately, at some other time, or not at all – spew aesthetic connected materials that are yet to be imagined. Aesthetics that could come only through such and such particular circumstantial circumstances, that we can not – nor need to – foretell.
The ViromeCaravan comes as a port through which some kind of art, an art as an imaginal aesthetic language –
is risked to never escape, nor live and evolve.
(Therefore, for example, all photos and clips are done by people who are not directly involved. They are people who pass by, have some kind of a say, or indeed – use ViromeCaravan to do their own stuff.)

Such an approach to documentation comes with risks. A few of these risks include:
an aesthetic language may never come to escape.
since there are texts to do with ViromeCaravan, there is an attempt to write as a way that connects rather than merely depict, document or describe. Therefore language throughout this website will read slightly weird, unfamiliar and strange. A language that will provoke a fair few thoughts like:
Why write this in such and such way? It sounds awkward!

The difference between rituals, celebrations and activities that may offer change – is within the question of risk taking.

With a personal tone, yes, even physically i may get injured, and the whole structure could very well break too 😉 .

The specific idea of ViromeCaravan evolved in me through questions of artistic oriented practices in connection with Covid19.

Connecting physical movement along terrains with frictions, texts, sharing and aesthetic questions, has a history in a few activities I got involved with.

      • For Example,

Skateboarding between Brasilia and Rio, from Brighton to London, from Brighton to Brussels, and from an airport and a gallery in Palestine. In another process, moving like a Mzungu (an east african term for a “hobo” used to describe Europeans) in Silecia, Poland.

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