In 1969 the first message was successfully sent on the internet, heralding a revolution in communication technology. Today, we are on the eve of a new revolution: that of the quantum internet, a fundamentally new way of communicating which relies on the laws of quantum mechanics and is inherently secure, inherently stable and incredibly efficient. This paves the way for applications that haven’t even been thought of yet. Quantum scientist and former hacker Stephanie Wehner is on a mission to develop the first operational quantum internet network before 2030. A daunting task, which some would even call crazy, but Wehner believes she can do it – not only by writing scientific articles, but simply by building it.
Growing up, visual artist Jonathas de Andrade was fascinated by the jangadeiros (sailors) operating the traditional fishing boats in his hometown of Maceio, Brazil. In Northern Winds, we follow him as he visits this community of workers to film their craft (which now serves tourism) for a new artwork. Intrigued by their skilful way of rolling the sailboats up and down the beach, De Andrade tries to capture their ingenious choreography. Far from romanticising their way of life, however, he creates a testament to their precarious existence in a country where unequal power structures are painfully and at times violently apparent.
Opera as an artform can be approached from various angles – the music, the singers, the stage design. Then there is the story, the emotion, the ideas. How does one combine these elements into an event which opens the door to fantasy and dreams? In Three Acts, world-renowned opera director Pierre Audi gives us a glimpse behind the scenes. As we watch him prepare for a rendition of Verdi’s Simon Boccanegra in Tokyo (with stage design by visual artist Anish Kapoor), he shares his vision for the genre. According to Audi, the dramatic world on stage can bring us more in touch with contemporary issues than reading the news ever could. In the theatre you offer hope, he says. “You help people find a connection with themselves.”
In Dear Home of Scars, we see celebrated visual artist Ibrahim Mahama return to his hometown of Tamale in Northern Ghana to visit Red Clay Studio, a lively cultural centre and art space he founded, where he works on a new art installation involving old colonial railcars and the reconstruction of a stretch of track. During British rule of Ghana (1821-1957), the colonisers used trains to transport gold and other resources to the coast. Remnants of track now lie abandoned as silent reminders of this history of exploitation. They are ‘scars in the landscape’, in the words of Mahama. The project brings new energy and self-awareness to local residents. Meanwhile, Mahama reflects on his role as a sought-after artist and builder of local communities.
