News

The central group exhibition of the second year of TERRA DIASPORA, titled Active Terrain, follows as the second project and brings together thirteen contemporary artistic positions in the exhibition spaces of the Altes Rathaus Göttingen. This exhibition is dedicated to the perceptual deficit humans experience regarding terrestrial transformation.

With: Julius von Bismarck, Julian Charrière, Marjolijn Dijkman, Raphaël Fischer-Dieskau, Andreas Greiner, Robert Gschwantner, Spiros Hadjidjanos, Kapwani Kiwanga, Almut Linde, Ulrike Mohr, Mazenett Quiroga, Marike Schuurman, Raul Walch.

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Bringing together perspectives from contemporary art, forestry, and the humanities, Forest Encounters approaches the forest as more than a site of ecological inquiry. It is framed as a complex socio-political terrain, shaped by conflicting policies, cultural narratives, and economic interests, while also remaining a vital, living biodiverse space.

Amid escalating climate, environmental, and political crises, the exhibition invites a critical rethinking of our relationship with forests. Acknowledging more than human perspective, Forest Encounters unfolds through artistic research projects, workshops, storytelling, and film screenings. Moving between real and imagined forests, it situates the forest as both a natural entity and a contested cultural landscape.

With: Nayari Castillo & Reni Hofmüller, Marjolijn Dijkman, Polonca Lovšin, It Rains Differently with contributions by: Dušica Dražić, Monika Lang, Siniša Ilić, Ibis Ćerimagić and Jelena Vukićević

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Second walk in the series with Marjolijn Dijkman, Carla Alma and Lotte Jensen. ‘Waker, Slaper, Dromer’ (Watcher, Sleeper, Dreamer) is a series of three walks named after the poetic names and functions of dike systems in the Netherlands.

These events connect artistic research, dike construction, ecology, philosophy and regional history and offer an in-depth look at the landscape through contributions from various experts, each with their unique and local knowledge. These walks are organized as part of Dijkman’s WaterLANDS artist residency.

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The 7th issue of Commodity Frontiers is now live on our new journal website.

The issue explores carbon frontiers through carbon histories, carbon technocracy, carbon sovereignty, carbon financing, carbon credits, carbon offsets, and carbon capture and storage.

Multidisciplinary authors take us on a journey through carbon debates and conflicts (Shin and Jackson), from energy use and resilience in colonized India (Sayako Kanda) to carbon and state power in 19th century East Asia (Bartoletti, Coghe, and Seow) to agricultural education in the Central Valley in present-day California (Gharibian and Cruz). We read about carbon financing and violence in the rangelands of Northern Kenya (Atieno Owino), the invisibilized and exploited labor of “decarbonization” in Indonesia’s palm oil industry (Roswaldy and Sawit Women’s Education Group), and the false promises of carbon capture and storage in Norway (Dijkman and Ressler). Julia Loginova reviews Andrew Curley’s book, Carbon Sovereignty: Coal, development, and energy transition in the Navajo Nation. The issue also includes an in-depth article about the metal mining giant, Zijin, by Joan Martinez-Alier and Marcel Llavero-Pasquina from the EJAtlas.

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The sculptural installation ‘Liquid Properties’ will be part of ‘Expo #5: 1-4′ at LINK, a group exhibition with Krystel Geerts, Nikki Vroom, Marjolijn Dijkman & Toril Johannessen, and Rutger de Vries.

‘Liquid Properties’ consists of hand-blown glass objects in a variety of shapes, reminiscing of lab equipment, glassware, buoys, ecospheres, and water lenses. Each of the spheres has one or more lenses integrated into the glass body, slightly magnifying the organisms, particles, and pollutants inside. Studied up close, each glass sphere is an isolated ecosystem. As a total installation, they might remind of models within a taxonomic structure or even globes within a planetary system.

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10.02.2025
Planetary Poetics, Artist Talks 2025, Sandberg Institute, Amsterdam, NL
17:00 at the Theory Stairs

26.02.2025
Artist Talk, Technology Driven Art, ZUYD, Maastricht, NL
14:00 Grote zaal, Toneelacademie Maastricht

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Six Samples of Catastrophe examines the representational, aesthetic, and tactile qualities of materials as visible imprints of invisible or less visible human interventions into the life of matter and nature. They manifest in a range from political hegemonies to ecological disasters, and speak of extractivist policies and (neo)colonialism.

Artists: Hannes Boeck, Marjolijn Dijkman, Jassem Hindi & Sina Seifee, Davor Konjikusic, Ana Torfs

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For the first time since the Flemish Government acquired ‘Navigating Polarities’, it will be on display at Mu.ZEE as part of the new collection presentation.

“Navigating Polarities, an immersive film installation, investigates the history of navigation and the natural forces of polarity and magnetism in the physical world. The work takes the Earth’s geomagnetic field as a starting point, considering how micro- and macrocosmic elements are contingent on these properties to operate”.

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Everything shifts. Everything is being shifted. Alongside larger geosocial and geopolitical translocations of peoples and matter come daily shifts that remain unnoticed, yet often become agents of critical transformation, openness and new beginnings. By exploring these smaller movements of matter, form and meaning, Critical Shifts offers two techniques of following subtle alternations, impalpable variations, and illusive temporalities of constant change – extraction and  bias.

The exhibition showcases works of contemporary artists who embrace shifts – whether through material, metaphorical or invisible form– as a method of their diverse practices and consider extraction and bias as internal to any knowledge production. We navigate if by shifts.

Curated by Margarita Osepyan, Maria Korolkova and Kate Umnova.

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Monument Algae is a work in progress by Marjolijn Dijkman & Toril Johannessen on the role of algae in the biodeterioration of monuments. It aims to develop a living sculpture hosting an assembly of algae collected from historical monuments.

Algae biofilm can function as a bioprotector or deteriorator on stone surfaces. Which algae grow on what monuments, and are they protecting them or slowly taking them down?

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‘Waker, Slaper, Dromer’ (Watcher, Sleeper, Dreamer) is a series of three walks named after the poetic names and functions of dike systems in the Netherlands. These walks are organized by artist Marjolijn Dijkman as part of her WaterLANDS artist residency (2023-2026), which focuses on ecological restoration and depoldering in the context of the Ems-Dollard estuary in the North of the Netherlands.

During the first joint walk, ‘De Waker’ (The Watcher), together with artist Marjolijn Dijkman, botanical archeologist Mans Schepers and landscape philosopher Eric Brinckmann, we look at elements in the newly shaped Twin Dyke landscape and the broader context of the estuary and interpret it from the perspective of the watcher in a broad sense.

How does this newly formed landscape affect our relationship with this environment and the uncontrolled estuary beyond the dikes? What can we learn from this new landscape, and how does it relate to the past of Groningen with mound communities that lived in the salt marshes? (Dutch only)

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New website for ‘Waker, Slaper, Dromer’ (Watcher, Sleeper, Dreamer), a series of three walks named after the poetic names and functions of dike systems in the Netherlands. Here, the ‘watcher’ protects against the outside water first, and the inland ‘sleeper’ catches any breach. Behind this sleeper sometimes lies another ‘dreamer.’

These walks are organized by artist Marjolijn Dijkman as part of her WaterLANDS artist residency (2023-2026). She reflects on ecological restoration and depoldering in the context of the Ems-Dollard estuary and surrounding landscape in the North of the Netherlands.

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Why is land art particularly relevant today? What are its new manifestations? How do we deal with these often impermanent works of art? And how does land art shed light on the urgent ecological and social issues of today?

International conference on the future of land art, with Humberto Moro of the Dia Art Foundation (USA), Lisa Le Feuvre of the Holt/Smithson Foundation (USA), Britta Peters of Urbane Künste Ruth (GER) and many others.

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CurieuCity cultivates curiosity and wonder in everything that surrounds us individually and collectively. It’s a festival that aims to combine the scientific rigor of universities with the experiential impact of art, STEAM education (Science, Technology, Engineering, Arts, and Mathematics), and socio-cultural action.

Each edition of the festival often addresses a question inspired by the reality of the neighborhood where it is located. The next iteration delves into the world of water, biodiversity, and natural sciences in the Wiels Swamp neighborhood.

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The Atlantic Ocean is a large-scale celebration of the northern sea that has shaped Norway and made the country an international actor, but also critically examines human practices on and in the sea. The exhibition includes around 140 works and objects ranging from original maps from the 16th century to contemporary works. By examining themes such as mapping and extraction, work and leisure at sea, ecology, and gender perspectives, the exhibition conveys the importance of the sea for humans across time and space.

Curators: Susanne Østby Sæther, Stefanie Hessler and Knut Ljøgodt.

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The exhibition conceptualizes our planet in the Anthropocene as an endangered garden with finite resources, in which our activities have a profound impact on our basis of existence. On display are works from the fields of sculpture, photography and installation. Using found materials, they offer a long-term time dimension and point to the dilemma of the capitalist growth paradigm: that the long-term effects of our short-term profitable actions are not adequately taken into account.

With: Julian Charrière, Marjolijn Dijkman, Raphaël Fischer-Dieskau, Andreas Greiner, Robert Gschwantner, Spiros Hadjidjanos, Almut Linde, Ulrike Mohr, Mazenett Quiroga, Marike Schuurman, Raul Walch.

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How can each individual contribute to the well-being of our much needed international community and to our shared planet? Which potential lies in art as the engine of emotional participation and knowledge-making processes? Look into my Ice focuses on the experience of cross-border collectivism to address both the climate crisis and societal cohesion in times of urgently needed unity of minds and hearts.

Participating artists:
Joonas Ahtikallio; Nina Maria Allmoslechner; Ronald Anzenberger; Nara Bak; Sofie Brønner; Pete Christie; Marjolijn Dijkman; Marta Djourina; Lena von Goedeke; Emma Harris; Toril Johannessen; Dongbin Lee; Martin Liira; Aquiles Jarrin & Irving Ramo; Kristel Laurits; Jaanika Peern; Kristina Popov; Sten Saarits; Theresa Schubert; Annika Sellik; Lukas Troberg

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From sunrise to sunset, artists will move in and between Mu.ZEE and KAAP in Ostend. Several performances will start, some ongoing.

Some are visible and loud, others barely perceptible.

The actions follow the rhythm of the sun, the tides, and the clock.

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As part of the WaterLANDS project, six Artistic Engagement Residencies have been established where artists are engaging with the project and the local communities at each of the restoration “Action Sites” in Bulgaria, Estonia, Ireland, Italy, the Netherlands and the United Kingdom.

Since the residencies started in 2023, the WaterLANDS artists have been working at their respective Action Sites across Europe. The aim of the three-day trip to Germany was to allow the artists to get to know one another, to share learnings and explore avenues for collaboration as well as possibilities to further integrate art into the wider project.

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First public presentation of the new film and robotic sound installation Between the Lines.

Première of the performance Natura Rebellis at O. (Festival for Opera. Music. Theatre.) and V2_ Lab for Unstable Media with new composition of composer Henry Vega.

‘Between the Lines’ (2024)
The film and sound installation ‘Between the Lines’ focuses on the effects of climate change in the forests of the Zone Rouge in the North East of France. It relates to the ongoing struggle to deal with the aftermath and remnants of WWI within the global climate crisis, which impacted this particular landscape on a monumental scale. An essay film and an orchestra of robotic drummers using trunks from the forest in Verdun as instruments will engage with these issues stimulatingly.

‘Natura Rebellis’ (2024)
The performance ‘Natura Rebellis’ builds on the installation ‘Between the Lines’ with artificial drummers who beat the dead tree trunks from the Verdun forest. This forest holds a special place for us as an example of a poisoned forest brought on by human conflicts while witnessing nature’s attempts to reclaim it in its own way. The performance highlights our conflicting nature while revealing our capabilities to live in harmony.

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For overseas transportation, natural gas must be cooled down to -162°C, liquefied, and compressed to a density of 450kg/m³. The different materials and substances that play a role in energy production stand front and center in the exhibition -162°C, 450kg/m³ – Fossil Energy, Fragile Futures. It explores ongoing dependence on fossil fuels, environmental devastation, and the urgent question of securing a liveable future for everyone.

With: Ana Alenso, Ayọ̀ Akínwándé, Andrew Castrucci, Marjolijn Dijkman, Sonja Hornung & Daniele Tognozzi, Susanne Kriemann, Bram Kuypers, Rachel O’Reilly, Oliver Ressler, Miriam Sentler and others.

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The exhibition Power Up, Technical Imaginaries, and Social Utopias refers to energy infrastructures from a feminist perspective. This collaborative project explores links between technical worlds, common goods, and connected representations.

With: Carla Adra, Jeanne-Marie et Georges Alexandroff, Jessica Arseneau, Marjolijn Dijkman, Hilary Galbreaith, Maya Mihindou, Jürgen Nefzger, Claude Parent, Christian de Portzamparc, Liv Shulman, Suzanne Treister, Tomi Ungerer.

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This event is part of the exhibition Power Up, Technical Imaginaries, and Social Utopias, which refers to energy infrastructures from a feminist perspective.

‘Why Installing Women and Solar Panels is Not Enough’, lecture by Cara New Daggett.

‘Electrify Everything’ performance by Marjolijn Dijkman and Pom Bouvier-b
Electrify Everything is a critical exploration of the origins of the units and language used to measure electricity. The performance draws on the magic of the first demonstrations of electrical phenomena in the 18th century.

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On the evening of 25 March, when the moon is full, this LUNÄ Talk will focus on the transition from one energy to another, from one infrastructure to another. How can we envisage transitions without considering the need to bring history to a close before embarking on new projects? The history of energy is written as a race towards the new, towards renewal, without ever questioning the possibility of moving towards solutions of repair or transformation. It’s about turning pages and arguing that the future will be more efficient, appropriate, or cleaner.

Contributors: Fanny Lopez, Clémence André, Marie Lechner, Stéphanie Schmitt, and a written contribution by Cara New Daggett.
Hosted by: Marjolijn Dijkman & Maarten Vanden Eynde

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