Post-Water is part of a global debate on a theme of water, the most essential natural element that generates and guarantees the maintenance of life, only one of the goods that suffer from the acute crisis of the sense of responsibility of our time.
Our times are characterised by pragmatism, rationality and economy. Often, especially in epochs of this kind, people's desire for magic and magic, for unfathomable powers, is awakened. As alternative models to strictly scientific facts, incomprehensible phenomena are also of great interest to artists. The exhibition demonstrates how artists deal with miraculous phenomena and the human desire for magic.
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.