Captured through a light microscope, ‘Reclaiming Vision’ features a diverse cast of microorganisms. The film reveals various processes in the water that are hidden to the naked human eye. By investigating the brackish water, its inhabitants, its properties, and the traces left by human activities, the film is a reflection upon the relationship we humans have with our surroundings, especially through what we cannot see.
Plants know worlds, they contain worlds and they make worlds. Plants exist within plurality; they are part of, and themselves contain many worlds. The cultivation of vegetal consciousness begins with a deepening of awareness of the actions and agency of non-human others.
Spectral Exchange seeks to use the electromagnetic spectrum as both a structural and thematic framework to draw out connections between disparate domains of knowledge and practice.
Seeing without a Seer is set up as a cooperative, imaginative and speculative exercise to grasp what is at stake in the act of seeing. What is 'seeing' and where is it located when we take non-human agencies into account? Can we, for instance, imagine how plants or stones ‘see’ their surroundings? In which ways could ‘machine vision’ influence our worldview?
Liquid Properties, a collaboration with Toril Johannessen, consists of the film Reclaiming Vision and the installation Liquid Properties. Captured through a light microscope, Reclaiming Vision features brackish water, sampled from the inner Oslo Fjord, alongside algae, cultivated at the University of Oslo. Starting off from the assertion that looking evolved from the sea – eyes in fact evolved from marine algae – the film is a visual journey through various ways of looking at and relating to nature.
The exhibition "The End is Where We Start From. On Tsunamis, Nuclear Explosions and other Fairy Tales" brings together works of eight international visual artists whose work navigates on the intersection of art and long-term scientific research.
Eurasia is a landmass that embraces a space between the western end of “Europe” and the eastern end of “Asia”. Albeit simplistic, taking this definition of Eurasia promises an exploratory, open-ended journey into one of the most complex way of thinking through the region, which questions existing borders and distinctions in all dimensions such as the geographical, cultural, political, and social ones – and in turn calls for new connections and pathways across cosmic, geologic and spiritual dimensions.
The 21st Biennale of Sydney will examine the state of ‘superposition’ by examining how it might operate in the world today. We are surrounded by conflicting ideas across all levels of humanity: different cultures; readings of nature and the universe; political ideologies and systems of government; interpretations of human history, the history of art and definitions of contemporary art.
CCS Bard is an exhibition and research center dedicated to the study of art and exhibition practices. In order to make the actual production of art a more palpable part of the graduate program, the Center initiated an artist-in-residence program which allows for one or more artists to spend from a semester to a year at the CCS making new work and engaging with the program in other ways. Research residency for the development of new work.
Syndrome of the Present is a research based project that aspires to establish a collaborative, cross disciplinary platform, shared between artists and experts from diverse geographies and disciplines, which enables collective thinking in order to analyze the present’s syndrome and the present as syndrome. Participants: Oreet Ashery, Juan Pérez Agirregoikoa, Marc David Baer, Melis Birder, Yael Bartana, Ayse Cavdar, Yael Davids, Marjolijn Dijkman, Koken Ergun, Amir Engel, Gil Hochberg, Alexander van der Haven, Natasa Ilic, Savas Michael Matsas, Yolande Jansen, Bik Van der Pol, Pawel Maciejko, Erden Kosova, Wendelien van Oldenborgh, Danielle Riou, Julian Reid, Roee Rosen, Dimitris Stamatopoulo and Artur Zmijewski. Curated by Galit Eilat.