The sculptural installation Liquid Properties, realised in collaboration with Toril Johannessen, is currently on view at Verbeke Foundation, a private art site where culture, nature and ecology go hand in hand. The installation consist of hand blown glass objects in a variety of shapes reminiscing of lab equipment glassware, buoys, ecospheres and water lenses. The glass objects are containers for samples of water taken from various sources, and are held by a meandering metal framework in a laboratory like set-up. Each of the containers have one or more lenses integrated in the glass body, slightly magnifying the organisms, particles and pollutants inside.
The exhibition demonstrates how artists deal with miraculous phenomena and the human desire for magic. With: Maria José Arjona, Roger Aupperle, Anna und Bernhard Blume, Böhler & Orendt + Felix Burger, Marjolijn Dijkman, Brad Downey, Lili Fischer, Mathilde ter Heijne, Andriy Hir, Bianca Patricia Isensee, Jürgen Klauke, Hartmut Landauer, Nikolai Nekh, Antonio Paucar, Jan Hendrik Pelz & Johanna Mangold + Jonathan Meese, Gabriela Oberkofler, Helga Schmidhuber, Jeremy Shaw, Maria Volokhova.
Captured through a light microscope, ‘Reclaiming Vision’ features a diverse cast of microorganisms, sampled from the brackish waters of the inner Oslo Fjord, alongside algae, cultivated at the University of Oslo. 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.
This program of experimental plant-listening attempts to model the best features of interspecies entanglements (reciprocity, mutualism, collective intelligence) while leaving behind the worst (co-dependency, parasitism). It explores plants as sites of collective organisation, and their collaborators microbes, fungi and bees as social protagonists. With so much to say, these super-organisms suggest expanded definitions of both non-human subjectivity, and the listening - discursive, decentred, yet embodied - necessary to tune into them.
Spectral Exchange is an on-going project that takes its content and structure from the non-visible electromagnetic spectrum (infrared, microwaves, and radio to one side of the visible; and ultraviolet, x-rays, and gamma rays to the other). 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? Artists: Anouk de Clercq, Tom Callemin, Marjolijn Dijkman, Hans Gremmen, Hiryczuk / Van Oevelen, Toril Johannessen, Taisuke Koyama, Tuula Närhinen, Juuso Noronkoski, Martine Stig, August Strindberg, Mikko Rikala.
Liquid Properties, made in collaboration with Toril Johannessen and commissioned by Munchmuseet on The Move, 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 music is specially composed for the film by Henry Vega. Curated by Natalie Hope O’Donnell.
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. Artists: Marjolijn Dijkman, Brian Duggan, Vera Isler, Anne Duk Hee Jordan, Susanna Hertrich, Monika Niwelińska, David Rickard and Kirsten Stolle. Curated by Pauline Doutreluingne.
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. With: Anton Karmanov, Binna Choi, Femke Herregraven, Jeonhwan Cho, Marjolijn Dijkman, Namsu Kim, Slavs and Tatars, You Mi, Byunghan Lee, Jeongtae Eun, Jipyeong Kim.
70 artists and artist collectives will present works across Sydney at the Art Gallery of New South Wales, Artspace, Carriageworks, Cockatoo Island, Museum of Contemporary Art Australia, Sydney Opera House and 4A Centre for Contemporary Asian Art. The 21st Bienniale 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.