|Posted by George Freund on September 14, 2011 at 10:20 AM|
What are the odds that an avant garde Austrian art group was given access to the 91st floor of the North Tower of the World Trade Center to remove windows, erect platforms outside the structure and leave material that could only be viewed by a close passing helicopter on a clear day? Well they are 100%.
What are the odds the art troupe are named after an explosive called Gelatin? What are the odds this group is sponsored by a cultural group who has an Israeli agent as a member who lived blocks from Mohammed Atta the terrorist who hated modern art and crashed an aircraft into it? Well they are 100%.
What are the odds that the markings on the cases that lined the walls of the space they were using were the same markings used for a special fuse holder assembly that allows for complex wiring? Well they are 100% too.
What are the odds the New York Times actually published a full page feature in August even showing pictures of the artists at work? Yes 100%.
What are the odds the graphic above if found in the hands of a Muslim in Iraq or Afghanistan would get you a one way ticket to Guantanimo with no chance to escape the water boarding season? Well more than 100% for sure.
Walter König, Cologne, 2001
32 pages, colour throughout, embossed hard covers
Text: Tex Rubinowitz
Photos: Maria Ziegelböck, Thomas Sandbichler, Susanne Wimmer, gelatin
Layout: Johannes Heuer
The B-Thing uncovers the truth behind the rumours of Gelatin's construction of an improvised balcony on the 91st floor of the World Trade Centre in New York. Through preparatory notes written by the boys, diagrams and colour photographs, we are finally able to glimpse the pink sunrise over New York from Gelatin's eyes.
90th floor WTC 1 B-Thing Israeli art students ready to remove a window
Members in their construction rigging and apparatus for the observation deck (crop) Notice the BB18
Members in their construction rigging and apparatus for the observation deck (Full) What if these boxes are actually explosives? What if other spaces were similarly packed?
Diagram of observation deck
Boxes framing the observation deck area
A PLAN SO DIABOLICAL NO ONE WOULD SUSPECT
THIS IS THE PIECE DE RESISTANCE. SPIEGEL IS A GERMAN WORD AT THE LOWER LEFT.
Pig iron containing manganese; used as a deoxidizing agent and to raise the manganese content in making steel
FICKEN IS THE 'F' WORD
BALKON IS BALCONY. IT IS ALSO A TERM USED IN THE GAME MINECRAFT. THAT SHOULD OFFER A LOT TO THE DEMOLITION THEORY!
TARNUNG IN THE UPPER CENTER MEANS CAMOUFLAGE. FOTO IS PHOTO.
IN THE CENTER AT THE CREASE IS:
SEITE VO ALUGR...
(SITE FOR ALUGR...APHICS A GERMAN GRAPHICS COMPANY)
(SCHWA...B An American Bank MAX withdrawal?)
Part Number: BB18
Series: POWR-BAR Busbar
POWR-BAR Busbar Data Sheet
Last Uploaded: July 10, 2009
POWR-BAR&trade Bus Bar
Safe distribution of power to multiple fuse holders in a compact design is a key objective for panel designers. The Littelfuse UL508 bus bar system eliminates most wire terminations in a timesaving package. A power distribution block and associated conductors are no longer needed to feed multiple POWR-SAFE™ fuse holders.
Decreases wiring terminations
Small footprint reduces space requirements
Reduces assembly time
Prevents accidental finger exposure
Quick and safe method of changing fuse holder configurations
Allows for future expansion
Eliminates power distribution block
RoHS compliant and lead (Pb) free
The book is copyright 2001 Verlag der Buchhandlung Walther Konig, Koln. I'll include more credits at the end of this post.
In short, the work purports to document a March 6, 2000 attempt by art students occupying "studiospace provided by the lower manhatten cultural council (all quoted passages are reproduced as they originally appear, replete with poetically licensed grammar, punctuation, spelling, and line breaks) on the "91. floor of world trade center 1."
"gelatin is on a floor with other artists who are part of this studio program.
gelatins space (the window, where the action will happen), is walled in with a
system of cardboard boxes.
other artists sharing 91. floor do not know what we are planing and doing.
the construction of the balcony and all other preparations are not visible
The narrative continues:
"the balcony is a prefabriacted construction, made by gelatin.
one person at a time will be able to stand on it.
the balcony will be camouflaged.
it will be built to be as less visible as possible for any passerby on the street.
it will be taken apart the moment after beeing pulled back in."
"one window will be taken out.
the removing of the window is done in a professional and secured action.
no constructive parts of the building will be removed or damaged.
there will not be any visible traces, after the window will have been put
Finally (for this post)"
"nobody but gelatin is officially involved into the project.
there will be an attorney telling gelatin how to behave.
there will be an attorney responsible to handle the case for gelatin."
A brief section of glossy color photographs "documents" the project. Individuals, apparently of college age, are depicted; all males are turned away from the camera. Two Asian females appear in full-face shots. The majority of pages depict drawings and calculations.
Photos of the balcony -- a narrow, cramped space protruding between exterior support columns -- appear to have been taken from ground level, and these images are grainy and, well, unconvincing. Also, there are photos that appear to have been shot from the balcony itself.
This is a most troubling and thought-provoking little publication. If what it documents is nothing more than a successful prank-as-statement by European and Asian art students, then what does it tell us about the vulnerability of the WTC, just prior to the attacks, to this sort of "tampering"?
Or is there more to the story?
Art students ... Hmmm ...
From the copyright page, more credits:
Text: Tex Rubinowitz
Photos: Maria Ziegelbock, Thomas Sandbichler, Susanne Wimmer, Gelatin
Translation: Jonathan Quinn
Reproductions: Cyberlab, Vienna
Layout: Johannes Heuer
Print: Groebner Druck, Oberhart
Binding: Papyrus, Vienna
Courtesy: Leo Koenig Inc./New York
Galerie Meyer Kainer/Vienna