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The Wave

The Wave

Curated by Carolina Martínez & Àngels Miralda

June 14th, 2022 – ∞

“One after another, beneath the surface, following each other, pursuing each other, perpetually.”– Virginia Woolf, The Waves
How to experience the exhibitionStarting from Hokusai’s The Great Wave off Kanagawa, each artwork has two responses that then multiply into two more. The response numbers correspond to the exponential order in which the exhibition unfurls. The viewer can choose to follow the exhibition in a linear order, or jump from one response to another to create their own narrative.
The Wave

Curated by Carolina Martínez & Àngels Miralda

“… It is justified to speak of an infinite return when the solution to a problem, either cognitive or pragmatic, does nothing other than redefine the same problem on a more abstract level that seemed to have been recently solved. Or even more: when negotiating a limit results in reconfirming that very limit.”

-Paolo Virno, The Anthropological Meaning of Infinite Regression

The Wave is an event like the ones we have recently passed under that seem to return with increasing frequency and force. Waves ride the tipping oceans whose tides sway from side to side with each lunar undulation. This exhibition was structured as such, passing the baton between curators from the South to the North and back again.

Beginning with the iconic wood print of Hokusai, two works branch out to drag the narrative in different directions which in turn produce two more. This possibly infinite expansion of artworks creates a non-linear network that multiplies into a fractal universe from the original energetic pulsation of The Great Wave off Kanagawa (1831). From here, thirty-two contemporary artists pull the narrative across the world’s oceans to comment on interconnected topics including migration, geopolitics, social movements, feminism, and climate change. These topics return to us in ever-renewed discourses generation after generation, and so on subsequently, into infinity.

Tsunami wave on the coast
The Wave (1) - Hokusai - The Great Wave off Kanagawa, 1831, Woodblock print

The Great Wave off Kanagawa is an iconic work by the 19th century Japanese artist Hokusai best known for his printmaking practice. The giant wave arches over, engulfing ships and towering over ice-capped views of Mount Fuji. Sea-spray fills the cloud-covered white sky as sailors brace for an inevitable shock. The work is a testament to survival as well as society’s deep interconnectedness to the sea. This dangerous and beautiful liquid planet is a source of sustenance, of travel, and of riches made by exploitation and trade. The sea is a space that proves nature’s ungovernability – its ability to give and take in instants. The work depicts the energy of great waves that tear across the sea, and has also made ripples since its production in the history of art. The Great Wave off Kanagawa was made with new pigments that had recently reached Japan from Europe, notably Prussian Blue. Hokusai’s new styles in the printing genre Ukiyo-e, depicted landscapes all over Japan and were inspired by the realistic depictions he had seen in Western Art. Hokusai’s work served as the cover to Claude Debussy’s ambient composition La Mer (1905) that marks this moment of French Japonisme. His works resonated in Europe and reached the shores of France as early as the 1860’s where impressionist artists such as Monet, Manet, Renoir, and Van Gogh referenced Hokusai as they developed the Impressionist movement that created the beginning of Modern Art.

See the Response: #2 - Ohan Breiding
See the Response: #2 - John Akomfrah
Tsunami wave on the coast

Hokusai / The Great Wave off Kanagawa, 1831

Five drawings of Hokusai's The Great Wave off Kanagawa, depicting a large wave
The Wave (2) - Ohan Breiding. Blood Memories, 2019, Sound installation with 5 drawings

Nature proves to us that it is alive through its tempestuous and irate manifestations. It is through these confrontations with catastrophes and other eventful phenomena that we recall that the existence of humanity, other living creatures, and the objects that surround us are conditioned by nature’s actions. From our own subjectivity these events are experienced through the confrontation between humanity and its surroundings, a relationship visually described in the huge wave off Kanagawa that threatens three fishing boats as well as its passengers. This terrifying scene is referenced by Ohan Breiding who explores this landscape as a witness of social relations, history, and politics through the reinterpretation of past events. In Blood Memories which forms part of the project Souvenir, the angered sea returns to tell the story of survival experienced by their stepmother in the great tsunami of the 26th of December 2004, who after becoming unconscious awoke to find herself floating in the middle of the sea, locking eyes with a cat who was also stranded on top of a wooden box. A series composed of 5 drawings, that refers to Hokusai, creates an abstract commentary accompanied by the stories of their relative. The relation of memory to landscape connects with Breiding’s interest in our relationship with other species and ecological conditions. From these stories, we can learn about future trials which will require interspecies collaborations and new understandings. These will influence our reactions not only to natural disasters, but also those catastrophes created by humanity that will come in the form of liminal and traumatic events.

See the Response: #4 - Enrique Ramirez
See the Response: #4 - Pınar Öğrenci
Five drawings of Hokusai's The Great Wave off Kanagawa, depicting a large wave

Ohan Breiding / Blood Memories, 2019 (Excerpt). Sound installation with 5 drawings, Watercolor on watercolor paper. 18 minutes. Courtesy of the Artist and OCHI. @ohanbreiding @ochiprojectsla

A man with his back turned to the camera, standing on board of a ship. He is gazing towards a snowy mountain.
The Wave (2) - John Akomfrah. Mnemosyne, 2010, Single-channel HD color video, 5.1 sound, 45 minutes, 6 seconds

If waves can determine the fate of a ship, a great many waves have affected the lives and identities of trans-Atlantic populations. Dedicated to the Windrush generation, Akomfrah’s Mnemosyne summons mythological passages that describe the epic sea journeys of Telemachus overlaid on rare footage of Black-British workers found in expanses of BBC archives. These images focus on what the archive ignores, the chronic invisibility of those immigrants who rebuilt the country in the post-war period. Mnemosyne is the ancient goddess of memory, also invoked by Aby Warburg in his famous bilderatlas (1925-29) in which he proposed that meshing images together, new narratives could be formed. In a similar way, Akomfrah’s expert combing of archives challenges the systematic erasure of  Black-British experience by contrasting images with frozen seas. This piece calls for a rebuttal to the systematic structural concealment of black Britain behind the veil of vast oceanic aporia.

See the Response: #4 - María Dalberg
See the Response: #4 - Ieva Epnere
Wide shot of woman standing in a large body of water
The Wave (4) - Enrique Ramírez. Lauso la mare e tente’n terro, 2020, Video, 26 minutes

Questioning the relationship between human beings and the world, as well as the way in which we deal with our memories and history is brought up in Ohan Breiding’s reinterpretation of the forces of water. This impulse once again crosses the narrative waves in Lauso la mare e tente’n terro by Enrique Ramírez. This film takes its title from a proverb in Provenzal meaning “Praise the sea and stay on land”, revived by the French historian Fernand Braudel in his celebrated book La Méditerranée et le Monde Méditerranéen à l’époque de Philippe II (1949). Within these pages, he takes on the history of the Mediterranean sea from a new historiographic perspective and, for the first time, postulates the problem of climate change in this region. This starting point is linked in the film with the problem of rising sea levels, a phenomenon interlaced with various historical processes including the Industrial Revolution and the horror of indigenous genocides by European conquistadors. Ramírez constructs a narrative between the figure of ​​a man in the South and a woman in the North who both face the waters of the sea. Their voices speak of the past traumas which still remain hidden, the destruction of life that is occurring at much more rapid pace than the time which was necessary for it to emerge, about dark futures and the sentiment that the world we have created is incapable of solving (our) problems. Fear, pain, rage, frigidity and oblivion face oceanic waters that might one day purify these insecurities. Out of this sea emerges the understanding of our forgotten responsibility in the face of eternity.

See the Response: #8 - David Horvitz
See the Response: #8 - Enric Farrés Duran

Enrique Ramírez / Lauso la mare e tente’n terro, 2020 (Excerpt)

Video reflected on a screen on a wall, showing the sea and sky and an oud floating. There is another wall in the center.
The Wave (4) - Pınar Öğrenciç A Gentle Breeze Passed Over Us, 2017, four-channel HD video installation, 5 minutes, 57 seconds

If a wave can traverse oceanic distances that separate families, traditions, and cultures in Ohan Breiding’s Blood Memories – a wave can also be the impetus for the beginning of a journey. Moving from the Pacific to the Mediterranean brings us to a watery territory of recent grief and mass migration. In Pınar Ögrenci’s A Gentle Breeze Passed Over Us, the artist records the words of her friend Ahmed Obaid Shaqaqi, an Iraqi oud player who explains how he was forced to leave his instrument when he crossed the Mediterranean sea. The camera circles the instrument in calm waters as it dips up and down in mellow waves. It represents a past and a homeland that has been stripped away and the longing that always remains. The film confirms the widespread existence of migration and movement across the Mediterranean that has created the diverse shores of this sea through its history, and confirms that belonging in these waters is not only for those who were born here, but for all those who have passed through.

Image Credit: Pınar Ögrenci / A Gentle Breeze Passed Over Us, 2017. Image from the Gwangju Biennial, 2018.
See the Response: #8 - Mounir Gouri
See the Response: #8 - Bertille Bak

 Pınar Ögrenci / A Gentle Breeze Passed Over Us, 2017 (Excerpt)

A group of women holding cloths walking on the shore against the wind
The Wave (4) - María Dalberg Uncontainable Truth, 2021, Video installation

John Akomfrah’s recovery of historic archives that gives accounts of unjust conditions and oppression, is also a method used in María Dalberg’s Uncontainable Truth, where voices that have been silenced are recreated through new audiovisual and performative exercises. The film brings Dalberg‘s investigation of Dulsmál, an ancient Icelandic word used to describe the criminal code when women hid their pregnancies only to have a stillborn birth or who died immediately. This legality was active between the 16th and 19th centuries in Iceland which in many cases ended with the death penalty. The women were obliged to inform the authorities of their pregnancies but often suffered harsh punishments giving them a reason to cover it up. Married women who had sex outside of their marriage also experienced punishment. Based on different archives from those years that collect these cases, the artist reveals the situation of women who were forced to carry out hard work, such as washing clothes for the upper classes. They lived in precarious conditions in the inhospitable and frozen lands of the island, contexts fostering sexual violence even from their closest relatives. Taking the stories of 5 women who went to court and sentenced later, Dalberg combines contrasting shots of women wrapped in red clothing who perform exhausting journeys through cold snowy landscapes and the washing work in Icelandic waters, with the declamation of a poem by the artist herself that includes excerpts from the statements of the accused. It enacts a linguistic maneuver that amplifies the eternal separation between what is thought and what is spoken, this time it embodies the searching to restore those hidden voices and misunderstood lives that were extinguished by systems of (in)justice and the very writing of history. Through this poetic performance, these stories of suffering are materialized and raised, which exemplifies the continuing suffering that thousands of women experience today under new impositions and restrictions: implicit, camouflaged or declared, but certainly protected by a cultural and social system that ignores and forgets according to its convenience.

Video installed in a gallery space, on the projection is a woman sitting on a rocky surface, holding onto a long stick. There is snowfall around her
See the Response: #8 - Elizabeth Gallón Droste & Daniela Medina Poch
See the Response: #8 - Rosana Antolí

 María Dalberg / Uncontainable Truth, 2021 (Trailer)

Video installed in a gallery space, in the video still there are marines leaning forward
The Wave (4) - Ieva Epnere - Sea of Living Memories, 2016, three-channel HD video installation, 10 minutes to 12 minutes each

If the sea can serve as an outlet for mass migrations, it is precisely why, in some cases, it is intensely monitored and controlled. Moving from the Black Atlantic references of John Akomfrah’s Mnemosyne to the Baltic Sea, Ieva Epnere’s Sea of Living Memories is a video installation of stories collected from residents of towns on the Baltic sea nearby her hometown of Liepaja, an important Naval base and Baltic sea-port in Latvia. These shores have long been liminal boundaries between geopolitical orders and continue to be contested waters. In today’s context of renewed violence in the post-Soviet sphere, the role of these memories of seascapes serves as a chilling reminder of the long road travelled. Through the multi-screen installation, the narrative focuses on the individual stories that are often forgotten in the wake of mega-narratives and nation-building. In the clip presented here, Irina, a resident of the coastal village of Pavilosta, recounts her memories of the sea since childhood. Coming from a mixed family both Latvian and Russian, her relationship with the sea changes according to the laws of the Soviet Union. In one instance it was illegal to take pictures of the sea as it could serve as a means for or a fantasy of escape and cameras were immediately confiscated by guards; in another, young men use the sand to prank Soviet soldiers; at another point in time, a relative’s visit puts in stark contrast the sea-based Latvian culture with the landlocked Russian experience as her grandmother witnesses the waves for the first time.

See the Response: #8 - Julian Charrière
See the Response: #8 - Thomas Ruff

 Ieva Epnere / Sea of Living Memories, 2016 (Excerpt)

Glass bottles filled with water of various sizes installed in a line on the ground
The Wave (8) - David Horvitz, somewhere in between the jurisdiction of time, 2014. Installation.

Flows of cultural problematics and questions present in Enrique Ramírez’s Lauso la mare e tente’n terro cross the sea like a powerful character full of pain and contradictions. They travel vast maritime geographies and cross points of conflict before reaching David Horvitzsomewhere in between the jurisdiction of time. These include arbitrary rules that dictate complex structures of relation and submit localities and societies to abstractions that distort spatial and temporal dimensions along with the perception of identity. One of these jurisdictions is the imaginary division of the globe into meridians. Longitudes run from the north pole to the south, and those that cross arbitrary locations both on sea and on land determine geographical distinctions in our perception of time. Horvitz questions this administration through 32 glass receptacles that gather Pacific waters. These samples were collected during a boat trip through one of these imaginary limits -the meandering time zone on the edge of the International Date Line and the latest time zone in the world- that runs between Alaska, the Gambier Islands, and French Polynesia. This fiction of time, drawn onto the waters of the Pacific Ocean was exhibited in a space divided by lines into North and South together with a letter sent to the US government requesting that the city of Los Angeles function on the Alaskan time zone rather than Pacific Standard Time for the duration of the exhibition. This ironic gesture towards the policies that administer the globe, show how time is essentially a flow, a single wave that washes over the earth each day.

See the Response: #16 - Adrian Paci
See the Response: #16 - Marie Farrington
Screenshot from video with the artist explaining the work. In the video is a sailing boat with a person lying down in it.
The Wave - (8). Enric Farrés Duran - A Frustrated Journey, 2015. Digital video, color, sound, 93 minutes, 15 seconds.

The sea is a rich source for literature and poetry as seen in Enrique Ramírez’s Lauso la Mare e Tente’n Terra, from ancient texts to the present day, its rhythms have reached an abundance of printed pages. In Farrés Duran’s film, he recreates a journey described by the classic Catalan novelist Josep Pla in the short story “Un viatge frustrat” (A Frustrated Journey) – a journey which was only ever completed in writing. The author spent many hours at sea and may have completed parts, but never in the same timeline as the journey he described. The video contrasts narrative filled with emotion, tragedy, and adventure, with the often banal reality of the touristic northern Catalan coast. Made together with the collector Josep Inglada, the artist is content to be dragged along by a larger vessel as he shares his artistic process with his patron. The film is a humorous exercise full of metaphors about the role of the artist in contemporary society. Filmed on the quiet Mediterranean coast, the artist fills his day with lazy and bureaucratic tasks of artistic production.

Multiple windows open on Macbook screen showing images of fruits, people and local people.
Multiple windows open on Macbook screen showing a map, an old black-and-white photograph, the artist and a table by a pool, with two glasses of fruit juice placed on the table.
See the Response: #16 - Ben Russell
See the Response: #16 - Karel Koplimets

 Enric Farrés Duran / The Frustrated Journey,_ 2015 (Trailer)

Two men on a boat at sea. One is playing the oud, the other is standing with his back turned and hand held up
The Wave (8). Mounir Gouri - Naufrage (Shipwreck), 2016. Video, black and white with sound, 8 minutes, 54 seconds.

An oud balancing on the sea, visually accompanies the story of an Iraqi musician who is forced to leave his wooden equipment during his emigration from Turkey to Austria in Pınar Öğrenci’s A Gentle Breeze Passed Over Us. This instrument similarly faces displacement in Naufrage (Shipwreck) by Mounir Gouri. In the Algerian artist’s video performance the oud differs in finding itself inside of a small boat, and through this it tells stories of migration, unpredictable and unpromising futures, and of strenuous social and political contexts. The camera shows us Ali, a musician in the bay of an unrecognizable city. He interprets touching tones that create a melody to which Hichem, a young dancer, joins. His neck shows a carbon-drawn crescent moon and star, symbols which many associate with Islam, but which has been used by many countries such as in the Algerian flag. Once on the boat, he removes the clothing from his upper body to reveal other barely legible illustrations, among them is the word “hope.” Hichem’s movements are strict but sinuous, he appears to seek harmony with Ali’s hypnotic music but also confrontation. We witness this meeting on the sea in which we can only infer more underlying information, such as what has drawn these characters together. What is visible is the poetry ascribed to the sea and to these shores through various layers of human expression. These landscapes seem to sharply whisper that this swaying of the ocean contains within it an infinite contradiction of hope and hopelessness. Circumstances often bring people to create unrealistic expectations in the face of inevitable destinies.

See the Response: #16 - Denise Ferreira da Silva & Arjuna Neuman
See the Response: #16 - Harun Morrison
Worker plucking eyes from shrimp with scissors
The Wave (8). Bertille Bak - Boussa From the Netherlands, 2017. Two-channel HD video and installation, 2 minutes, 28 seconds and 18 minutes 56 seconds.

In Pınar Öğrenci’s A Gentle Breeze Passed Over Us the harsh divide and migratory routes towards the West from the non-West are pictured floating on fluid watery borders. Yet the waves that sometimes reach the borders of Europe are experienced more often through the circulation of material and capital that departs from wealthy nations to extract profit from invisibilized workers. Bertille Bak’s Boussa From the Netherlands is a portrait of the people behind the labour that supports luxurious European lifestyles from other continents. Following the route taken by Dutch shrimp, Bak’s scenery are the humble homes and villages of Moroccan working women. In contrast with the hot and earthy environment, the women dress in furs to work for hours in refrigerated environments where they peel the shells off of miniature shrimp to a repetitive soundtrack of a Dutch woman’s voice keeping the pace with a rapid and methodical “een, twee, drie.” The flesh of the shrimp are transported back to the Netherlands for fancy dinners and canapes while the shells are used for cosmetic products. The only material traces left in Morocco therefore are the round beads of the shrimp eyes. Bak’s materialization of this invisible labour is collected in souvenir bottles typically filled with colored sand and acquired in busy touristic markets. Lacquered in cosmetics, the eyes are prepared through tedious and labour-intensive processes. The bottles are an absurd exercise in abundance and overproduction where the baked and colored shrimp stare back at their European observers. 

See the Response: #16 - Patricia Domínguez
See the Response: #16 - Ursula Biemann
Large piece of fabric crumpled on the floor with other large pieces of fabric stretched in the background.
The Wave (8). Elizabeth Gallón Droste & Daniela Medina Poch - Intersecting Mediterranean(s), 2021. Multimedia installation and video performance, 10 minutes.

The determined effort to repair and honor the hundreds of women whose lives and voices were silenced in María Dalberg’s audiovisual narrative weaves through water and textile as witnesses. The dark historic times referenced in the work brings forth an allegory that introduces water as a living archive informed by relations with the human body and other forms as they produce history. In Intersecting Mediterranean(s), Elizabeth Gallón Droste and Daniela Medina Poch Droste use long textiles submerged in waters that have been positioned by the eurocentric gaze as the focal point of a cultural identity that needs to restore its heterogeneity. The displacement of singularity for plurality evokes a multiplicity of identities and imaginaries, just like the many fresh and salty waters that feed into the Mediterranean. This work is composed of two parts, the first is Intersecting Mediterranean(s) from its Regional Rivers I which is an installation with 36 meters of fabric and a series of multichannel audio pieces. The second is Intersecting Mediterranean(s) from its Regional Rivers II, an installation of a video-performance that soaks events and choral discourses that reveal the complex and intricate encounters that reflect the particularities of vastly differing contexts translated into memory through water.

Credit: Elizabeth Gallón Droste and Daniela Medina Poch / Intersecting Mediterranean(s) from its Regional Rivers I, 2021_._ Photography by Elizabeth Gallón Droste and Daniela Medina Poch. Exhibition: Emerging Strategies from the Deep. SAVVY Contemporary Laboratory of Form and Ideas. The Marebox Project. Berlin, Thessaloniki and Cosenza, 2021.
See the Response: #16 - Beatrice Alvestad Lopez
See the Response: #16 - Nona Inescu

 Elizabeth Gallón Droste and Daniela Medina Poch / Intersecting Mediterranean(s), 2021. Photographers: Elizabeth Gallón Droste and Daniela Medina Poch. Exhibition: Emerging Strategies from the Deep. SAVVY Contemporary Laboratory of Form and Ideas. The Marebox Project. Berlin, Thessaloniki and Cosenza, 2021.

Close-up of blue spiral tube
The Wave (8). Rosana Antolí - I Will Give You The Sea, 2020 and A Tube Under The Sea, 2020. HD Video, digital, color, sound, 9 minutes, 40 seconds, and installation.

If María Dalberg’s Uncontainable Truth is an ode to historical injustices suffered by women – surrounded by the harshness of waves metaphorically crashing onto rough volcanic rock – Rosana Antolí’s I Will Give You the Sea investigates current theories of hydro-feminism and the liquid nature of the uncontainable sea. The body is a capsule that has evolved to contain the sea within its liquid arteries. All life on earth holds its origins in the chemical soup of primordial oceans that fluctuates in circadian rhythmic tides to the pull of the moon – like a woman’s fluctuations of the approximate length of the lunar cycle in a liquid tidal pull. In the film, the limits of the body as a container are broken through the ingestion and dribbling of water through oral orifices in a choreography of relation between the subject and its liquid insides. In sculptural forms such as A Tube Under the Sea, Antolí captures the visual motion of a spiraling wave through the reproduction of a watery “core sample.” Clasped in copper rings, it contains the textures, materials, and hues of the cerulean sea that formally challenges the ability to contain the oceans. These works question the hard boundaries of the individual and lead to a thesis on common origins and interconnectedness that tie the body to the planetary, a common future, and the shores of immortality.

Installation in a gallery, blue spiral tube
(Left and above) Rosana Antolí / A Tube Under the Sea, 2020. 150 x 110 x 250 cm. Resin, methacrylate, copper, brass, sand, mediterranean stones. Photo courtesy of Gallery Luis Adelantado, Valencia. Photography by: David ZarzosoVideo credit (below): Rosana Antolí / I Will Give You the Sea, 2020 (Excerpt). Video HD, Digital Colour Sound, 9’40”.  Music by Tomaga. Photo courtesy of the artist and Gallery Lehmann+Silva, Porto.
See the Response: #16 - Paige Emery
See the Response: #16 - Chen Wei

 Rosana Antolí / I Will Give You the Sea, 2020 (Excerpt). Video HD, Digital Colour Sound, 9’40’’.  Music by Tomaga. Photo courtesy of the artist and Gallery Lehmann+Silva, Porto.

Wide shot of abandoned building on the beach
The Wave (8). Julian Charrière - Iroojrilik, 2016. 4K Color film, 16:9 aspect ratio, stereo sound, 21 minutes, 3 seconds.

The stories of individuals who moved to Liepaja due to its strategic location in Soviet Times show the traces of the Cold War and the socialist system that governed Latvia in Ieva Epnere’s Sea of Living Memories. From these voices of the Baltic Sea, the narrative moves into the molecular radioactive history of Bikini Atoll in the Marshall Islands. Julian Charrière dived into these waters together with the curator Nadim Samman in order to – paradoxically – give life to Iroojrilik, a contemplative and intriguing film that functions as a visual essay. It revisits the historic character, geology, and archeology investigating the actuality of the beaches and waters of the Atoll. As usual in this natural environment, there are paradisiacal moments in these landscapes. These panoramic shots made during the dive reveal the ruins – like footprints – left behind by the nuclear tests carried out by the United States between 1946 and 1958. The reefs and the sea floor as well as the air were contaminated during the Cold War during “Operation Crossroads” which created a monumental nuclear disaster and was followed by subsequent similarly destructive tests such as “Operation Castle.” Pans of impactful nature alternate with abandoned bunkers and sunken ships colonized by aquatic flora. The vegetation, the sea and the deepest layers of the beach that still retain traces of Caesium 137 remind us that historic threats continue to haunt us to the present and will remain in the future. This anthropologic examination shows the deserted island devoid of the indigenous communities who were displaced without any option to return, it speaks of the entangled problems of forced migration, power, and violence.

Dry palm leaves and bones
Credits: Julian Charrière / Iroojrilik, 2016, Film Still. Copyright the artist; VG Bild-Kunst, Bonn, Germany.
See the Response: #16 - Emilija Škarnulytė
See the Response: #16 - Panos Aprahamian

 Julian Charrière / Iroojrilik, 2016 (Excerpt)

If the sea can be a receptacle for memories, on Mars it is the dry solid surface of the planet that contains memories of passing waves.
The Wave (8). Thomas Ruff - ma.r.s 15, 2011. Chromogenic print with Diasec.

For Irina, one of the subjects of Ieva Epnere’s Sea of Living Memories, the Baltic shore is a boundary that contains memories of childhood dappled with the presence of uniformed officers who patrolled the border between the Soviet Union and the West. In a televised spectacle, the Cold War ended up taking centre stage outside of our planet. State-of-the-art Image technology pumped through the boom of television screens in the West that brought the moon closer to home than the opposite shore of the Baltic Sea. The possibility of humankind living in outer space has long been a fantasy of science fiction, the Soviet imaginary, and present day ambitions of the world’s wealthiest. Thomas Ruff’s series ma.r.s. uses publicly accessible images deployed by NASA of photographs of the surface of the red planet. In high-quality prints, Ruff’s poetic martian landscapes contain geological remnants of gushing water and ancient streams. Matter once moved over the now-dry surface of the planet. The uncertain scale of the photograph reads like the indented sand of a receding tide pool – pocked with high-impact asteroid craters. Each image in the series contains high levels of palette variation and enhancing techniques signaling Ruff’s interest in digital imaging. If the sea can be a receptacle for memories, on Mars it is the dry solid surface of the planet that contains memories of passing waves. Like an open archive, rocks contain stories that can be gleaned through analyses of scientists and rendered interpretable through photography to the human eye, revealing the mysteries uncovered through astrogeology.

See the Response: #16 - Letícia Ramos
See the Response: #16 - Su Yu Hsin

© Thomas Ruff / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany Courtesy the artist and David Zwirner

The column initiates debates about cultural hegemony and dominance where production systems amplify power relations embodied in market demand and human desire.
The Wave (16) - Adrian Paci - The Column, 2012. Video, color, sound, 9 minutes, 10 seconds.

If the cultural narratives transported over dislocated waters in Horvitz’s work comment on the fiction of time, The Column is filmed on these same waters but on the chimerical adaptations to labor through the Western system. This is at once the cause and driving force of globalization which blurs identities, forces migrations, and imposes harsh working conditions in its search for maximalizing profit and optimizing production. In this audiovisual production, Paci records a disquieting memetic adaptation of a marble block extracted from a quarry in China which takes on features akin to classical European architecture. This huge chunk of rock in the process of being transported in a cargo hull is simultaneously sculpted by Asiatic workers as it crosses the cresting ocean waves. It loses its natural geometric form into a rounded column as its cultural surroundings mix and disperse at sea. The column initiates debates about cultural hegemony and dominance where production systems amplify power relations embodied in market demand and human desire.

Go Back To: #8 - David Horvitz
Cut-out pattern on a plaster cast block
The Wave (16) - Marie Farrington - See, Level, 2018. Sculpture.

Seawater is a material in flux that moves in great belt currents throughout the world. But in works like David Horvitz’s somewhere in between the jurisdiction of time a set of glass containers with sea water represent specific localities of the Pacific Ocean. An ocean is at once a single mass as infinite multiplicity as it affects land and local conditions with varying salinities and chemical compositions. Across the world in the North Atlantic, Marie Farrington reflects on on the chemical and architectural capacities of sea water on Ireland’s channel coast. Commissioned by Fingal County Council Arts Office, the works in See, Level are composed of molds and sections of mobile homes common in the area. The coast is constantly battered by wind and sea spray, to reflect these conditions, Farrington adds sea water to the plaster casts. The crystalized salt chemically reacts to the sculptural process, migrating to the top of the settling material and creating efflorescent stains. In architecture, this process can signal weakness in the building material, yet it also points to the resilience of construction habits in landscapes that cohabit the land with saltwater waves and sea spray. Like Horvitz’ sculptural work, here sea waves represent cycles of time, but in this case those that break down and affect our lived environment. Homes, and the landscapes we inhabit, are pictured through natural material processes of decay and impermanence. The work, originally presented outdoors, reflects on landscape’s inevitable effects on culture, architecture, and local life defined by Farrington as a state of being “near-sea.” 

Plaster cast blocks installed alongside a fence

Credit: Courtesy the artist. Photographs: Courtesy of Brian Cregan and Fingal Arts Office. This work belongs in the Irish State Art Collection.

Go Back To: #8 - David Horvitz
Person in an open field, holding a square mirror to their chest that shows the reflection of a palm tree
The Wave (16) - Ben Russell. Atlantis, 2014. 16mm film to video, color, 16:9 aspect ratio, stereo sound, 23 minutes, 33 seconds.

Stories of longing and objectives for things that oftentimes fail to occur mark the disjunction between what is manifested through dreams and narrative and we assume to be reality. This is depicted in the fictive journey on the sea captured by Enric Farrés Duran. In other instances -rather than naively desiring outcomes on any scale- reaching for something built on idealization can result in disaster. Decadence and suffocation accompany an existence that blocks catastrophes in order to focus on joy and illusion – this is the subject of the impossible search depicted in Ben Russell’s Atlantis. This video merges history and myth through the hunt for an ideal world. The first scenes include images of the ocean accompanied by spoken extracts of the dialogues in Plato’s Timaeus and Critias. These works relate diverse subjects but belong to a trilogy that evokes The Republic, the most famous text of the philosopher known for his theorization and structuring of a functioning utopian city-state. But the spoken texts in the film are probably best known for their account of the history of Atlantis, an island nation that would have existed 9,000 years before Plato’s time and whose legend has obsessed mankind through its disappearance below the ocean’s waters. Some believe that this story is true and have proposed that a possible location for this land is the island that is today called Malta. This is the location of the film that uses superimposed planes and objects as well as impossible perspectives and proportions of representation on the screen to create a chimerical reality that puts in doubt the materiality of the ideas, and even the precision of words. Another author who also imagined a fictional society based on the ideals of the classical world inspired by equality and justice is the philosopher Thomas More. In one scene, lines from his book Utopia are used as subtitles while a song plays interpreted by Għana musicians, a Maltese folk genre. Through this linguistic trick, a recollection of dreams is generated which humanity has always desired. Our failures might not have made us reach the complete darkness of Atlantis, but retelling these ancestral stories that have time and again imagined an unreachable perfect order implies that we are constantly on the brink of shipwreck in our inherent human condition. Atlantis is neither a documentary nor a fiction, it is an attempt to understand the concerns, thoughts, and emotions of an unreachable place that moves between these interstices of knowability, but that contains within it endless perseverance towards a more just and balanced cosmos.

Credit: Ben Russell / Atlantis, 2014. (Film Still) Courtesy the artist.
Go Back To: #8 - Enric Farrés Duran


Ben Russell / Atlantis, 2014. Courtesy the artist.

Boat hit by waves during a sea storm.
The Wave (16) Karel Koplimets - Case No. 14: The Storm on the Baltic Sea, 2018. Video installation, 3D animation, tilted floor, loop.

The sea is a common backdrop for fictional settings in which unexpected turns, storms, and environmental factors can change at a moment’s notice. The banal experience of the Northern Catalan coast in Enric Farrés Duran’s Un Viatge Frustrat (A Frustrated Journey) is an honest exposition of everyday mundane encounters compared to sensationalized fictional voyages. In Case No 14. The Storm on the Baltic Sea by Karel Koplimets, reality and fiction converge once again in an uncanny image of a ship at sea. Here, tossed between towering pillars of water, the ship floats in precarious acts of balance that harken back to Hokusai’s heroic fishing boat beyond Mt. Fuji. No land is visible but the combination of Estonian and Latvian flags atop the mast indicate a short passage through the usually calm Baltic Sea. The endlessly looping video is an exaggerated fictional image that embellishes the experience of this landscape with references to romantic compositions of 17th-19th century marine landscape paintings and to the literary struggle of humankind against natural elements. As the viewer watches, the unlikely veracity of the film begins to reveal the digital construct of the situation. The image is entirely computer-generated but can easily be interpreted as real. In an age where truth and falsehood are increasingly difficult to distinguish, and where fear is used as a mechanism of control, manipulated images flood our screens and contribute to create a mass psychological perception of the reality around us. The waves that batter the sides of the ship function as a metaphor of the emotional swings to which populations are subject in instances of political paranoia and mass hysteria.

Go Back To: #8 - Enric Farrés Duran

 Karel Koplimets / Case No. 14: The Storm on the Baltic Sea, 2018.

Fish swimming vertically, appearing to be falling down as rain
The Wave (16) - Denise Ferreira da Silva and Arjuna Neuman - 4Waters/Deep Implicancy, 2018. HD video, color, sound, 31 minutes.

Mounir Gouri references the Algerian youth who dream of migration in Naufrage from the desperation of precarious conditions in his country accompanied by the uncertain possibilities of finding better conditions in another place. Philosopher Denise Ferreira Da Silva and filmmaker Arjuna Neuman accomplish an impactful conjunction between these two disciplines through a voyage in immeasurable deep time whose wisdom produces new connections and interpretations to reconfigure our connection with the world. Images, footage, and sound create context and space in 4Waters/Deep Implicancy that speak of displacement, colonialism, and ecological destruction that converge in historic synchronicity. Western thinking has made hierarchical systems the model for a system of ethics informed by concepts of value. Worth has always fascinated this culture of thought, and has sought to elevate it as a principle to compare all things in existence. This is where all the fractures of this world emerge which make it resemble an inferno. This ethical model cannot hold much longer, and the authors propose a new world whose reemergence needs to return to primordial state or what Ferreira Da Silva calls “deep implicancy.” This was a state-of-being where neither measurements of time nor comparisons of any sort existed. Air, water, earth, and fire are the chapters through which the Mediterranean and the Pacific, Atlantic, and Indian oceans incarnate narrations that speak of the transformation of water in relation to these elemental forces. From there to the Caribbean, where these invoke a transformation in the Haitian Revolution – triggered by an earthquake in 1748 of which little information exists today – beyond its historic traces this event takes on cosmic proportions, it bursts forth in a time without measurement and in a liquid atemporality. There is a supernatural power which modern thinking has amputated from us, in which there is no space for vertical hierarchies nor for domination among humans and more-than-humans. Lost memories reside in the glowing entrails of the earth, which, from time to time, erupts with fragments of this telluric archive. We are urged to forge new connections and relations in which difference is inseparable, for all living, non-living, organic, inorganic, human, and all that exceeds it. Without the burden of Western temporal measurements, we can free ourselves of its ethics and embrace the echoes of primordial states that will allow for an imperative transformation.

Go Back To: #8 - Mounir Gouri

 Denise Ferreira da Silva and Arjuna Neuman / 4Waters/Deep Implicancy, 2018

Square mattress underneath a tree, covered with a cloth
The Wave (16) Harun Morrison - Mattress Beneath a Tree, Wanstead Flats, 2022. Documentation photograph.

In Mounir Gouri’s Naufrage the title signals to something that is not directly visible in the work – the economically shipwrecked contemporary condition that Algerian youth must face when creating their own identities. The film pivots between traditional and contemporary dance motions on a ship which is still afloat, yet in a constant state of precarity. In a temporary gesture by Harun Morrison – a photographic print, Mattress Beneath a Tree, Wanstead Flats has been enlarged to a 2m by 2m fabric banner and installed on the lever of a canalside warehouse in Haarlem, next to the windmill Molen De Adriaan on the River Spaarne. This action was made in solidarity with a recent housing protest, organized by Woonoproer, which took place on the 27th February 2022, against the skyrocketing costs of housing and evictions in the Netherlands. The printed image shows a makeshift mattress and carpet beneath a tree that create an improvised resting spot. It avoids the representation of individuals but points to the evidence of increasing homelessness in the wealthy urban centers of the so-called West. Morrison himself lives on a canal boat in England called “Zoar” and has written about the increasing privatization of the waterways. The waving fabric ripples in the wind like a sail on a mast. We find ourselves in the ups and downs of a chaotic market whose crests and dips affect our interconnected lives – some are lost and others are discarded on unstable ground that is verging nearer to the possibility of shipwreck.

Go Back To: #8 - Mounir Gouri

 Harun Morrison / Wanstead Flats Banner, 2022. Image credit: Documentation video and GIF of the banner by Saskia Burggraaf.

Younger woman sitting in front of a table, wearing a skincare mask. In front of her on the table is an empty plate, surrounded by avocados. Above her is an older woman, dropping oil onto the tongue of a ritualistic object with a face
The Wave (16) - Patricia Domínguez, The Ballad of the Dry Mermaids, 2020. Video installation, color, sound, 31 minutes, 57 seconds.

The incoherence of production chains in a system bound by law to the market are exposed by Bertille Bak in Boussa from the Netherlands through the women who work in repetitive and exhausting rhythms. Across the Atlantic, in South America, it resounds with the exploitative contradictions of the neoliberal system that searches only to maximize profits. In the film The Ballad of the Dry Mermaids Patricia Domínguez takes on ecofeminist activism to relate the harsh drought that Chile is passing through, specifically Petorca – an area located in the central part of the country. This place, like many other territories, has been named a “sacrificial zone.” This means that the area is placed at the disposal of economic interests that have brought entire communities to ecological and economic disaster, destroying their access to basic necessities and decent living conditions, and submerging them in a permanent state of survival. The traditional family farm agriculture has been devastated by the avocado monoculture in Chilean Spanish called “palta” which derives from the original pallta in Quechua meaning “lump that hangs.” These creamy lumps need large quantities of water to grow for which the industry has rerouted natural riverbeds. This canalization of the aquifers has been permitted by a Chilean regulation implemented by the “Code of Waters” in 1981. This was written to add an impulse to the market after the implementation of the 1980 Constitution written during the full-on military dictatorship behind closed doors, and which has been implemented particularly well: that water would be privatized and sold. This is how environmental activists became an important bastion to restore the dignity of the inhabitants. A group called MODATIMA (Defense Movement for the Right to Access Water, the Earth, and the Protection of the Environment) has many women among its ranks who have become leaders for the cause both now and during the military dictatorship. Domínguez invited the “Women of the Water” – a group where some of its members are part of MODATIMA – to be the protagonists of this piece. Through colorful sets and sceneries interspersed with drone footage of dry landscapes and 3D animated digital avocados, a fictional aesthetic relates the violent realities and precarity of people who often have access to water for less than 3 hours per day. Dances performed by girl “defenders” and women act as rituals of resistance that denounce their situation. LED lights accompany them in order to bring light to the abuses and exploitation that have been systematically obscured from the public. Accompanied by a hypnotic soundtrack, an imminent catastrophe is revealed which has the ability to be reversed with the upcoming magna carta written this time, through democracy. It is a call to restore natural waters and generate a new wave of coexistence, consciousness, and respect, with the hope that Juan López, who closes the film, won’t sing anymore surrounded by the cadavers of animals who died from dehydration, and hopefully, one day, he can be celebrate that water is a natural resource, available to all, and respected as a basic human right.

Musician Juan López playing guitar and singing, sitting under a cactus tree surrounded by by animal bones

Patricia Domínguez / The Ballad of the Dry Mermaids, 2020 (Film Still). Video, color, sound; 31:57 min. Courtesy the artist and Galería Patricia Ready, Santiago. Commissioned by st_age, Thyssen-Bornemisza Art Contemporary (TBA21)

Patricia Domínguez / The Ballad of the Dry Mermaids, 2020 (Film Still). Video, color, sound; 31:57 min. Courtesy the artist and Galería Patricia Ready, Santiago. Commissioned by st_age, Thyssen-Bornemisza Art Contemporary (TBA21)Credits for the film below: La Balada de las Sirenas Secas (The Ballad of the Dry Mermaids)

Video 4K, audio, 31:57 min, 2020

Commissioned by st_age, TBA 21

View Full Credits
Go Back To: #8 - Bertille Bak

 Patricia Domínguez / The Ballad of the Dry Mermaids, 2020

Still from two channel video. On the left is a fisherman on a boat, pulling a bucket out of the sea. He is saying: "They have killed the sea life here." On the right channel is the fisherman pulling webs out of the water.
The Wave (16) Ursula Biemann - Black Sea Files, 2005. Video, color, stereo sound, 4:3 aspect ratio, 43 minutes, 51 seconds.

If the sea connects global economies and labor exploitation for the benefit of colonial nations in Bertille Bak’s Boussa From the Netherlands, the absence of navigable sea paths does not stop the current of material extraction towards the West. Ursula Biemann’s Black Sea Files exposes the aphotic construction of oil pipelines stemming from the landlocked Caspian Sea towards the accessible shipping routes of the Mediterranean. Crude oil flows unidirectionally through kilometric underground tubes, invisible to the naked eye and buried to prevent sabotage as they pass through zones of perpetual ethnic and political conflict. A newly opened refinery near the city of Ceyhan draws enormous volumes of oil far from its sites of origin despite the health risks to local populations and sea creatures that once swam in abundance in natural lagoons. Black Sea Files is a research project that brings to light not only the populations and networks created by the geologies of oil, but of the invisibility of information around its infrastructure, beneficiaries, and global political networks.

Go Back To: #8 - Bertille Bak

 Ursula Biemann / Black Sea Files I, 2005

Ursula Biemann / Black Sea Files II, 2005

The artist lying on the shore, with burning fire next to her and two long transparent tubes installed around her. One tube is at her head, and the other is at her feet. In the background there is a calm body of water and mountains
The Wave (16) Beatrice Alvestad Lopez - Elemental Bodies, 2020. Video performance, 11 minutes, 9 seconds.

The allusion created by Elizabeth Gallón Droste and Daniela Medina Poch to the necessity of rethinking cultural heterogeneity and the connections between human and non-human bodies through submersion in crystalline waters reappears in Beatrice Alvestad Lopez’s performance Elemental Bodies. This ceremony is inspired by theories of hydrofeminism and possible posthuman manifestations through dynamic links between water and life. A still frame shows the artist on the shores of tranquil waters with its own sound. The listener is immersed in a state of calm meditation. This scene becomes a ceremony where long and thin tubes buried in the thick sand accompany the steps of Alvestad that come and go. Water is collected and served through vessels to the earth once again, recreating a cycle and exchange between natural elements that have been interrupted. This ritual exercise culminates – for now – with the artist’s immersion in these waters and the convocation of fire. The movements and elements in this action evoke the concept of Earth’s deep time, a creature formed through molten layers, that shelters everything found within.

Go Back To: #8 - Elizabeth Gallón Droste & Daniela Medina Poch

 Beatrice Alvestad Lopez - Elemental Bodies, 2020

Rocks tied with metal wires on concrete flooring
The Wave (16) - Nona Inescu - Meander, 2020. Installation.

A river is a living entity that constantly pours forth. In Elizabeth Gallón Droste & Daniela Medina Pochs’s Intersecting Mediterranean(s) I and II, the river is a vessel for memories of the bodies that have historically occupied these shores. Like arteries, the liquid aquifers that pour into the sea connect distant lands through material transfer. Nona Inescu’s Meander is a representation of fluvial motion caressing organic concretion stones. Forged out of minerals, pressure, and time, these rounded pebble-like forms have previously been used by Inescu to represent portions of the human body. They bulge and contract in uncanny semblances to limb-like shapes. These geological features usually emerge when deposits of sandstone, limestone, or shale accumulate around a nucleus – this is what gives these stones bizarre anatomies. Here, a stream made of chrome-plated steel passes over them, holding them in place, compressing and unravelling them. In the early 16th century, Leonardo da Vinci compared the structure of veins within human arms to the forms of earth’s rivers; the same simple physics explains the structure of distribution. Water is the planet’s pulsating life-blood.

Go Back To: #8 - Elizabeth Gallón Droste & Daniela Medina Poch
In a circle, three pairs of hands in water. Caption reads: "washing sensing rewriting new memories"
The Wave (16) - Paige Emery - Fluid Relations for Endurance, 2021. Video, 4 minutes, 30 seconds.

Rosana Antolí’s work is a call to dilute the limits between our bodily volumes and everything that surrounds us. Evoking ecofeminist theory, she places the body and the feminine imaginary as a starting point for expansion and manifested impetus in the eternal movement of water. These ideas flow into the ceremony that Paige Emery relates in Fluid Relations for Endurance. This video work confronts an existing lake with the remains of one that has disappeared due to mercantile activities in California. The artist inscribes new memories into physical and spiritual dimensions through rites of communion that take place within these waters. These new rituals can serve to guide us in the construction and preparation of a new global vision which we both need and desire. Scars and traumas left behind by capitalism and expressed in the crudest forms of individualism clog and jam the latent potential contained within bodies and their connection to nature. Emery’s new rituals propose that memory can traverse those who live in the water, that we can repair what connects us, life and our place within it. Caring and healing the ties between communities and their members is a necessity should we seek permanence, resistance, and transformation through new models of collectivity. This imaginary unfolds through liquid emotion that is capable of opening and transgressing tangible psychological interstices.

Go Back To: #8 - Rosana Antolí

 Paige Emery / Fluid Relations for Endurance, 2021

“…the image is a reminder that waves belong to all of cosmic matter and not just to liquid surfaces of water.”
The Wave (16) Chen Wei - In The Waves #4, 2013. Archival Inkjet Print.

In Rosana Antolí’s I Will Give You the Sea the body is connected with planetary materiality as a monic pulsating life form created through combinations of liquid and organic matter. Water rushing over the surface of skin materially enunciates the unutterable chemical connections that tie us to the history of this planet. A complex narration on collectivity and individuality represented by the material body in space is also constructed in the eerie and mesmerising tableau-vivant of Chen Wei’s In the Waves #4. The title introduces sound as matter that travels across air in sonic patterns and that traverses the body in subtle trembling variations. A crowd stands together in a conical light-stream traversing a club-night atmosphere thick with artificial fog. Limbs sway to the beat and although the image is still, it is throbbing with motion. Each singular body stands separately yet collectively, in the room bound by aural energies. Lit by a caravaggesque chiaroscuro, the alienation of contemporary society is found in cathartic moments of togetherness when identity is shed in the anonymity of night-life. A singular moving being floats on common beats and rhythms – transported by sound and light to the photographic surface, the image is a reminder that waves belong to all of cosmic matter and not just to liquid surfaces of water.

Go Back To: #8 - Rosana Antolí
Floating icebergs, with glaciers in the background.
The Wave (16) Emilija Škarnulytė - Sirenomelia, 2017. HD video, sound, 12 minutes.

The consequences of the Cold War and the traces of radioactivity continue to threaten and pulsate towards beaches, underwater life, and ruins of constructions in Bikini Atoll. Captured by Julian Charrière in images obtained in dives and composed of an omnipresent (and human) gaze this gives way to a renewed discussion that touches on the ongoing conflict between East and West through underwater submersion. This time, from a narrative that revisits this divide through myth and non-human perspectives. In the film Sirenomelia by Emilija Škarnulyte, the artist herself incarnates a mermaid submerged in Nordic waters that surround Olavsvern – a Norwegian naval base. This complex structure is over 25 million square metres and was constructed (and dug) within a mountain near the city of Trømso. In order to reach it, a long strategic tunnel crosses the Barents Sea acting like a liquid portal between the Arctic and Atlantic oceans. This place which has stored submarines and other artefacts of the war was closed in 2009 due to its obsolescence. A mermaid swims around these waters and constructions which are witnesses to human antagonism and dislocates our experience towards what could be a supernatural being that highlights the possibility to see our problems which remain invisible and inaccessible to us. Our ability to see is limited by temporary perceptions, something that Škarnulyte transcends through incorporating the sound of quasars recorded by the Geodetic Earth Observatory of the Norwegian Mapping Authority. These archives give information as vast as the movements of terrestrial crust to the effects of climate change. Today, destiny and history have newly uncertain paths since the base was sold to private interests, who, together with the Norwegian state, are surveying for possible future uses for the site.

Credit: Emilija Škarnulyte / Sirenomelia, 2017 (Film still)
Go Back To: #8 - Julian Charrière

 Emilija Škarnulytė / Sirenomelia, 2017 (Excerpt)

A silkworm under red light
The Wave (16) Panos Aprahamian - This Haunting Memory That Is Not My Own, 2021. Full HD video, color, stereo sound, 16:9 aspect ratio, 29 minutes.

On the atomic shores of Bikini Atoll, Julian Charrière’s Iroojrilik shows the effects of a contaminated island on a Pacific periphery. In 1946, the inhabitants of this archipelago were forcibly moved for it to serve as a US nuclear test site for the following decade. Yet, this decay is not always found in the face of human abandonment. In Panos Aprahamian’s This Haunting Memory that is Not My Own, he speaks of new peripheries – ones that are not physically, but mentally and geopolitically written out of history. The film takes place on Lebanon’s Mediterranean shore where migrants from various forced migrations have settled over the years. These are not the crystalline waters of the Mediterranean attractive to tourism and industry, but the contaminated and plastic-filled waters of the old quarters of Burj Hammoud and Karantina – ancient sites of quarantine for historic epidemics which today are filled with the uncontrolled growth of shanty-towns that house uncared-for people. Slow pans over water show the small embarkations that are still used on these fetid waters and the rubbish-jammed shores that collect bags, containers, and other small debris against backdrops of massive container ships whose lights illuminate these cloudy waters with the constellations of global currents of goods. The waves of the sea represent mobility and immobility that apply differently to capital than to the undocumented and economically marginal. Here, the sea is the stopping point, a physical border that populations are thrown against and which opens an imaginary escape to worlds beyond. This landscape is not an atomic meltdown, but a social and humanitarian catastrophe that inscribes itself in the geological and chemical composition of the landscape. In this film, the wave is not a single instant but a steady flow of metaphoric rising waters.

Go Back To: #8 - Julian Charrière

 Panos Aprahamian / This Haunting Memory That Is Not My Own, 2021 (Trailer)

Grainy film showing a small submarine in the water
The Wave (16) - Letícia Ramos, Vostok, 2013. 35mm film to HD video, 5.1 sound, 8 minutes.

The dry scenes of Mars that Thomas Ruff manipulates through the application of colors and distorted perspectives bring us to the human restless imagination that searches for life outside of Earth. This pursuit returns in the images created through subaquatic reveries of Letícia Ramos in Vostok, whose title comes from the largest subglacial lake in Antarctica. The footage glimmers through cinematographic techniques and tools that do not intend to reproduce that which science can tell us about this gigantic liquid mass, but rather to operate within the artist’s exercise of revealing our own assumed belief of reality which is often configured through visual fictions and sensoralities. The magical captures of this mysterious phenomena starts with the history of the lake itself – its existence was first reported by the Russian geographer Andréi Kapitsa in the 1950’s and 60’s. Later, it was confirmed in the 1990’s and a photograph was made of a submarine bobbing between light and obscurity in the waters that are located at almost 4,000 meters below the ice cap of the South Pole. Gleams of light that contrast with the profundity are emphasized by the texture and grain of the 16mm film. Microorganisms and bacterias have managed to survive in Vostok. They appear like illusions and as a possible response to whether life can emerge in outer space if it can survive in these specific and extreme conditions. For now, we cannot be sure that we will ever have another place to inhabit, but we can (and we should not forget) remember that not everything that is presented as real is so, something that Ramos affirms by demonstrating the aquarium set and scale models that we firstly believed to be monumental structures. Magic, phantasmagoria, and even belief itself can inform our senses, the very way we think we interact with and understand the world, the cosmos, and all of the elements that unequivocally create our repertoire of (supposed) reality.

Go Back To: #8 - Thomas Ruff

 Leticia Ramos / Vostok, 2013 (Trailer)

Video installation in gallery, one video is reflected on a screen installed within an aluminum frame, one is vertically placed on a wall, and a third projector screens an image on the wall directly
The Wave (16) Su Yu Hsin - frame of reference I&II, 2020. Two-channel video installation, full HD, loop.

In Thomas Ruff’s m.a.r.s 15, he uses the scientific limits of photography to show traces of ancient waves on the martian surface. In Su Yu Hsin’s frame of reference I & II (2020), she captures visual and scientific representations of landscape along the Liwu River in Taiwan. The river moves unceasingly over the surface of smoothed rock, showing the geological process of erosion that creates recognisable liquid undulations in stone over long time scales. Thick tropical foliage grows from the humid air surrounding brooks and streams which is cut to test bare marble among rhythmic audible mechanical signals. Filmed visuals of the terrain are contrasted with rendered and digitally-stitched landscapes. Su’s proximity to the terrain is an auto-critical investigation of human and scientific perception whose instruments are inherently limited by physical positionality. As the river meets the waves of the Philippine Sea, the sediments disperse into the world beyond the framework of these particular abstracted scientific measurements.

Image Credit: Su Yu Hsin, frame of reference I & II, 2020. alexander levy, 2021. Courtesy of the artist and alexander levy. Photograph by Trevor Good.
Go Back To: #8 - Thomas Ruff

 Su Yu Hsin / frame of reference I&II, 2020 (Excerpt)

And so on subsequently, into infinity.-Paolo Virno

Carolina Martínez Sánchez is a cultural manager and editor, curator and creative researcher based in Santiago de Chile. Martínez Sánchez is the founder and Editor-in-Chief of Rotunda Magazine, an online publication dedicated to contemporary art in Latin America and the world, which is currently being repositioned towards a collective project of research and experimentation. She is curator and contents director of “Gabinete: Arte Contemporáneo en Chile”, a short documentary series on Chilean visual artists. She was curator of the Pavilion of Visual Arts at the Creative Economies Forum of Chile – CHEC 2020 “El Dominio de lo Remoto”, organized by the Ministry of Cultures, Arts, and Heritage of Chile. She is currently researching and working on a feature length documentary. She is Project Manager of the Chilean Pavilion at the 59th International Art Exhibition – La Biennale di Venezia with the Ministry of Cultures, Arts, and Heritage of Chile. Recently curated and led an interview series for the Chilean cultural channel CanalARTV. She often writes for publications and editorial projects.

Àngels Miralda is a curator and writer based in Amsterdam and Catalonia. Her current research is based on materiality and energy present in contemporary art stemming from the history of installation art. Her recent exhibitions have taken place at the Tallinn Art Hall, MGLC – International Centre for Graphic Arts in Ljubljana, the Museum of Contemporary Art of Chile, and the Latvian Centre for Contemporary Art in Riga. Her writing and art criticism have been published in Artforum, Collecteurs Magazine, and for numerous catalogues and exhibitions including the National Gallery in Pristina, Casa Velázquez in Madrid, the Suñol Foundation in Barcelona, and the Künstlerhaus Bethanien in Berlin.

About Collecteurs: Developed at the New Museum’s cultural incubator, Collecteurs is a public-benefit corporation on a mission to give the public access to private art collections. As a digital museum, the platform empowers collectors, making it easy for them to digitize, manage, and exhibit their collections without needing the capital to open a private museum. Collecteurs collaborates with established curators, who select works from private collections on its platform, to create exceptional digital exhibitions.

Illustrations by: Berke YaziciogluCollecteurs Team: Evrim & Jessica Oralkan, Deniz Karabekiroglu, Eser Coban, Berk Aksen. Development: Fatih Akdogan, Berkay Sargin, Altan Devrim, Ezgi Nazlı, Ece Ezer, Bogdan Masliy.
Go Back to the Beginning
illustration of waves
Hokusai was a renowned printmaker from the 18th and 19th century Edo period in Japan. He became internationally known for his woodblock prints titled Thirty-Six Views of Mount Fuji to which The Great Wave off Kanagawa belongs. In his long career he created over 30,000 works and his works became very popular in Paris. With this he influenced painters who would later work with Impressionism. The wave that brought his work across continents profoundly changed the history of art.
​​Ohan Breiding works in photography, video, drawing and varying forms of collaboration to depict the importance of kinship via active listening, historical events, and the landscape as witness. They employ a queer-feminist lens to the discussion of ecological care and invite viewers to feel how resistance might move our bodies and to pay attention to the places that hold us as we persist. Ohan Breiding has exhibited their work nationally and internationally. They are the 2022-2023 Amherst College Artist-in-Residence, the 2021 TBA (Thyssen-Bornemisza Art Contemporary) Academy Ocean Space Fellow in Venice, Italy, a 2019 Millay Colony Resident and a 2018 Shandaken: Storm King Resident. They have received numerous awards including the 2022 Hellman Award, the 2019 SIFF (Swiss International Film Festival) Award for The Rebel Body, a short film made with Shoghig Halajian and the participation of Silvia Federici (author of Caliban and the Witch), the 2017 Rema Hort Mann Emerging Artist Award and the 2012 DAAD Award. Their practice has been written about in Artforum, Art in America, Hyperallergic, Whitewall, among others. Ohan Breiding is an Assistant Professor in the Art and Art History Department at Williams College in Massachusetts and is represented by Ochi Projects in Los Angeles.
John Akomfrah (b. 1957) is an artist and filmmaker, whose works are characterized by their investigations into memory, post-colonialism, temporality and aesthetics often exploring the experiences of global diasporas. Akomfrah was a founding member of the Black Audio Film Collective, alongside the artists David Lawson and Lina Gopaul. He has had numerous solo exhibitions including Fundació Antoni Tàpies, Barcelona, Spain (2021); Centro Andaluz de Arte Contemporáneo, Sevilla, Spain (2020); Seattle Art Museum, Seattle, WA, USA (2020); Secession, Vienna, Austria (2020); BALTIC, Gateshead, UK (2019); ICA Boston, MA, USA (2019); New Museum, New York, NY, USA (2018); Bildmuseet, Umeå University, Umeå, Sweden (2015, 2018); SFMOMA, San Francisco, CA, USA (2018); Museo Nacional Thyssen-Bornemisza, Madrid, Spain (2018); Barbican, London, UK (2017); Tate Britain, London, UK (2013-14) and a week long series of screenings at MoMA, New York, USA (2011).
Enrique Ramírez (b. 1979, Santiago, Chile) combines video, photography, installations and poetic narratives. Since 2010, he has lived and worked between Paris, France and Santiago, Chile. He studied popular music and cinema in Chile before joining the postgraduate master in Contemporary Art and New Media of Le Fresnoy –Studio National des Arts Contemporains (Tourcoing, France). Ramírez searches for stories within stories, fictions straddling countries and epochs, the mirages between dream and reality, and often uses image and sound to construct a profusion of intrigues in order to occupy the equilibrium between the poetic and the political. His imaginary worlds are attached to one obsessional element—his thinking starts with the sea, a space for memory in perpetual movement, a space for narrative projections where the fate of Chile intersects with grand narratives of voyage, conquest and migratory flows. In 2014 he won the Discovery Prize (Prix Découverte) of Les Amis du Palais de Tokyo, Paris, France. He has held exhibitions around the world including at Le Palais de Tokyo, Paris; Centre Pompidou, Paris; Centre d’art contemporain, Saint Nazaire; Museo Amparo, Puebla; Museo de la Memoria y los Derechos Humanos, Santiago; Centro Cultural MATTA, Buenos Aires; Espace Culturel Louis Vuitton, Paris; Le CENTQUATRE, Paris; Le Fresnoy, Studio national des arts contemporains, Tourcoing; Centro Cultural de España, Santiago; École nationale supérieure de la photographie, Arles; and Jeu de Paume, Paris, among many others. In 2017 he was part of the 57th International Art Exhibition – La Biennale di Venezia curated by Christine Macel.
Pınar Ögrenci (b. 1973, Van, Turkey) is an artist, filmmaker and lecturer living in Berlin. She is the founder and director of MARSistanbul which has been running since 2010. Her works include decolonial and feminist perspectives on forced displacement, state violence and urban development woven by personal and everyday stories. She is a participant in the upcoming documenta fifteen in Kassel. Her works have been exhibited at the Gwangju Biennale (2018), Athens Biennale (2018), 3rd Art Encounters Biennale (Timisoara, 2019), Times Art Center (Berlin, 2021), SAVVY Contemporary (Berlin, 2019), Tensta Konsthall (Stockholm, 2018) and the MAXXI Museum (Rome, 2016) among others.
María Dalberg (b.1983) is a contemporary artist based in Reykjavík and Berlin. Her work is multidisciplinary, and she is most known for her video installations. She uses analogue and digital technologies and develops and manipulates audio-visual materials. Her work revolves around music and language; she writes and performs sound poems, either fictional or non-fictional. She uses polyphonic writing techniques and stream of consciousness narrative mode. She combines artistic research methods developed through her practice with research methods she learned from her academic history studies. She uses artifacts and archival materials. In her work, she investigates old and contemporary criminal cases focusing on unheard female voices. She uses the female body and the effects of landscape on the mind and memories. María held a solo show at Künstlerhaus Bethanien in Berlin (2021) and Reykjavík Art Museum (2018). She exhibited her work at the 5th Moscow International Biennale for Young Art (2016), Tallinn Art Hall (2020), and in Felleshus, Nordic Embassies (2022). She performed at Cycle Music and Art Festival (2018).
Ieva Epnere (b. 1977, Liepaja, Latvia) is a film and installation artist working in Riga. Her works involve archival research that conclude in visual presentations around the subjects of identity, history, and tradition. In 2019 Epnere was DAAD fellow in Berlin and received the most prestigious visual arts award in Latvia, the Purvitis Prize. She has held solo exhibitions in institutions such as the Latvian National Museum of Art (Riga), Fogo Island Gallery (Fogo), kim? Contemporary Art Centre (Riga), Art in General (New York), Zacheta Project Room (Warsaw), and Kulturforum Alte Post (Neuss). Group exhibitions have taken place in Centre Pompidou (Paris), Vestfold Kunstsenter, Galerie Wedding (Berlin), daadgalerie (Berlin), 12th Kaunas Biennale, 1st Riga Biennale, Mark Rothko Art Center (Daugavpils), several editions of Survival Kit Festival (Riga), Cesis Festival (Latvia), and KASK (Gent) among others.
David Horvitz (Los Angeles, USA) studied at the University of California and at the Waseda University in Tokyo. He obtained a MFA from Milton Avery Graduate School of the Arts, Bard College, in 2010. Witty and poetic, the work of David Horvitz meddles with systems of language, time and networks. Eschewing categorization, his expansive, nomadic body of work traverses the forms of photographs, artist books, performances, the Internet, mail art, sound, rubber stamps, gastronomy, and natural environments. His work examines questions of distance between places, people and time in order to test the possibilities of appropriating, undermining or even erasing these distances. Using image, text and objects, his works circulate and operate independently of himself, penetrating ever more effectively the intimate sphere. When encountering his works– in the postal system, libraries, or the airport lost-and-found services– our attention to the infinitesimal, inherent loopholes and alternative logics, and the imaginary comes to the fore. His work has been exhibited in venues such as: High Line Art, New York; MoMA, New York; New Museum, New York; SF MOMA, San Francisco; Palais de Tokyo, Paris; Centre Pompidou-Metz, Paris; Fondazione Pirelli HangarBicocca, Milan; Thyssen-Bornemisza Art Contemporary (TBA21), Vienna; Fotomuseum Winterthur; Albertinum, SDK, Dresden; La Criée centre d’art contemporaine, Rennes; S.M.A.K, Gent; Museum Morsbroich, Leverkusen; MOCAK, Museum of Contemporary Art, Krakow; The Israel Museum, Jerusalem; Musée d’Art Contemporain Avignon; Crac Alsace, Altkirsch; Brooklyn Museum, among others. In 2016 he founded Porcino Gallery in Berlin, a miniature-sized space annexed within the ChertLüdde premises.
Enric Farrés Duran (b.1983, based in Barcelona) studied Art and Design at Escola Massana (Barcelona) and Philosophy (University of Barcelona). He is a storyteller who blurs fact and fiction in installations, publications, and guided tours through institutions and exhibitions. His works have been exhibited at MACBA, Barcelona (2021); Joan Miró Foundation, Barcelona (2021); Nogueras Blanchard, Madrid (2018); Bombon projects, Barcelona (2018); Bòlit Centre d’Art Contemporani, Girona, (2018); La Panera, Lleida (2017); LACA, Los Angeles (2017); Uma Certa Falta de Coerência, Porto (2017), Fabra i Coats, Barcelona (2017); La Casa Encendida, Madrid (2017); MAC, Mataró (2017); Passatge Studio, Barcelona (2016).
Mounir Gouri (b. 1985, Annaba, Algeria) is an interdisciplinary artist. He lives and works between Algeria, France and Spain. His work centers on the problems of North African societies, such as immigration, socio-political questions, and the violence in public and intimate spaces. He holds a BFA from the École des Beaux Arts in Annaba and a Master of the Ecole Nationale Supérieur d’Art de Cergy Paris. His work has been shown recently in the Künstlerhaus Bethanien in Berlin, in the Atelier Jeanne Barret with the collectif Suspended Spaces, at the Maison des Arts de Malakoff, in Manifesta 13 Les parallèles du Sud in Nice. His work has been shown in Algeria, Spain, France, Germany, Italy, Algeria, USA, England, and Egypt among other places.
Bertille Bak (b. 1983, Arras, France) observes and documents the invisible functionings of our society often pointing out the absurd or inhumane conditions that create it. Through documentary and close collaboration with specific communities, she poetically frames these ignored realities and creates rules of games in which participation multiplies. She has shown internationally in institutions with solo presentations in Merz Foundation, Turin (2022), Le Cyclop de Jean Tinguely, Milly-la-Forêt (2019), Galerie Saint-Séverin, Paris (2019), Art Connexion, Lille (2017), Frac PACA, Marseille (2017). Other exhibitions have taken place at: Xippas, The Gallery Apart, Centre Pompidou Metz, Frac Nouvelle-Aquitaine (Bordeaux), GNAM (Rome), Centre d’art Contemporain (Montreal) among others.
​​Elizabeth Gallón Droste conducts multimodal ~ artistic research. Her work focuses on relationships with more than human actors, addressing actions and potentialities of re-existence in crisis-ridden landscapes. Combining different media, she aims to establish dialogues and learning processes from relational and site-specific ontologies. Since 2014, she is part of various networks and projects that oscillate between art and science, addressing in their collective processes the joint and attentive listening of entanglements. Elizabeth completed her M.A. in Interdisciplinary Latin American Studies at the Freie Universität Berlin and her B.A. in Culture and Media Studies at the Bauhaus University Weimar. She is currently a PhD candidate in anthropology at the International Graduate School ‘Temporalities of the Future’ at the Freie Universität Berlin, where she is navigating the process of voicing rivers, in the framework of the recognition of the Atrato River in Chocó-Colombia as a subject of rights in 2016.Daniela Medina Poch is a visual artist and researcher based between Bogota and Berlin. Through an intersectional lens, her work aims to contribute to the conception of socio-ecological narratives that challenge canonical categories and asymmetrical power relations. Investigating specificities of diverse contexts, her practice is often developed through performative installations, expanded listening spaces, collective platforms and the formulation of discursive language. Amongst her group exhibitions are Liveness: recorridos excéntricos del arte de acción, Museo de Arte Moderno de Bogotá (2022); RAUPENIMMERSATTISM The Affluent Society as Consumed Society or the Myth of Endless Production and Consumption, SAVVY Contemporary The Laboratory of Form–Ideas, Berlin (2021); The Listening Biennial, Errant Space, Berlin (2021); VI Bienal Internacional de Performance: PerfoArtNet, Galería Santafé Bogotá (2018) and LOOP Festival City Screen, Barcelona (2015). She has been resident at the Marebox Project, Italy (2021), FLORA ars+natura, Bogotá (2018), lugar a dudas, Cali (2017) and 4bid Gallery, Amsterdam (2015). She is co-initiator of the curatorial program Babel Media Art and the collective Co-Re (contextual research) and writes texts for specialized magazines such as Eigenart, Arts of the Working Class and Contemporary And América Latina. Currently she is taking part of the MA program Art in Context at the Universität der Künste Berlin where she develops a performative research around ecoaffectivities and aqualiteracies.
Rosana Antolí (b. 1981, Alcoi, Spain) has a multidisciplinary practice that moves across drawing, painting, sculpture and video She always embraces a performative methodology and focuses on the intersection of art, choreography and everyday life. Rosana Antolí’s work is exhibited in galleries and museums worldwide, having been commissioned among others by: Tate Modern Museum (UK), St Albans Museum (UK), CentroCentro Cibeles Palace (ES), Pompidou Museum (ES), Da2 Museum (ES), Artium Vitoria Museum (ES), BBVA Foundation (ES), Joan Miro Foundation (ES), Wifredo Lam Museum (CU), and CA2M (ES). She has been awarded among others with Ibero-American Patronage Awards (Spain, 2022), S+T+ARTS Repairing the present – Finalist (EU, 2022), DYCP Arts Council UK (UK, 2021), VIII International Art Prize Marta García-Fajardo – Finalist (Spain, 2021), Generaciones Art Prize (Madrid, Spain, 2016), Gasworks International Fellowship (UK-Colombia, 2015), 2015 MULTIVERSE Grant for Video Art Creation by BBVA Foundation (Spain, 2015). One of her most recent achievements has been a public art commission by the Valencian Government to create a sculpture in memory of the Covid-19 victims in the City of Arts and Sciences built by Santiago Calatrava in Valencia, Spain.
Julian Charrière is a French-Swiss artist based in Berlin. Charrière’s practice represents a seminal voice in the rearticulating of planetary narratives for the 21st century. Marshalling performance, sculpture and photography, his projects often stem from remote fieldwork in liminal or discarded locations. By encountering sites where acute geophysical identities have formed – from volcanos and icefields to former nuclear test sites – Charrière traces different materialities through deep geological time. His artworks open up to alternative histories that question the position of the human in the world and the world within the human. An ongoing tangent throughout his artistic projects is the desire to deconstruct the arbitrary frameworks with which man has defined ‘nature’, from the wild othering of Romanticism to the overextended ‘Anthropocene’. By staging interventions in the ambiguous territories between mysticism and materiality, Charrière’s speculative quest into the realms of science and cultural history foreground the fraught relationship we have with place today. Frequently collaborating with composers, scientists, engineers, art historians, and philosophers, Charrière creates interventions which provoke as well as invite critical reflection on the traditions of perceiving, representing and engaging with the natural world. A former student of Olafur Eliasson and a participant in the Institute for Spatial Experiments, Charrière graduated from the Berlin University of the Arts in 2013. His artwork has been the subject of solo exhibitions at the Dallas Museum of Art, Dallas (2021); MAMbo, Bologna (2019); Berlinische Galerie, Berlin (2018); Parasol Unit Foundation, London (2015); Musée des Beaux-Arts, Lausanne (2014); Centre Culturel Suisse, Paris (2014), among others. His work was featured in the 57th International Art Exhibition – La Biennale di Venezia (2017); the Antarctic Biennale (2017); the Taipei Biennial (2018); and the 12th Biennale de Lyon (2013). Group exhibitions include Centre Pompidou, Paris (2019); Sprengel Museum, Hannover (2019); Aarhus Kunstmuseum, Aarhus (2019); SCHIRN Kunsthalle, Frankfurt (2018); Hayward Gallery, Southbank Centre, London (2018); and Palais de Tokyo, Paris (2017).
Thomas Ruff (b. 1958, Zell am Harmersbach) is a forerunner in photography whose consistent experimentation with the expanding technological capabilities of the medium have stretched its limits through enlargements, digital retouching, and manipulation of rare source material. His work has been exhibited at K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2020-21); the National Taiwanese Museum of Fine Arts, Taichung (2021); Whitechapel Gallery, London (2017); The National Museum of Modern Art, Tokyo (2016); Art Gallery of Ontario, Toronto (2016); Stedelijk Museum, Amsterdam (2014); The Museum of Modern Art, New York (2014); Haus der Kunst, Munich (2012); LWL-Landesmuseum für Kunst und Kulturgeschichte, Münster (2011); and Centro de Arte Contemporáneo de Málaga, Spain (2011) among others.
Adrian Paci (b. 1969, Shkoder, Albania) studied painting at the Academy of Art of Tirana. In 1997 he moved to Milan where he lives and works. Throughout his career he held numerous solo shows in various international institutions such as: Museum of Arts, Haifa (2022); Kunsthalle, Krems (2019); Galleria Nazionale delle Arti, Tirana (2019); Chiostri di Sant’Eustorgio, Milan (2017) Museo Novecento, Florence ( 2017); MAC, Musée d’Art Contemporain de Montréal (2014); Padiglione d’Arte Contemporanea – PAC, Milan (2014); Jeu de Paume, Paris (2013); National Gallery of Kosovo, Prishtina (2012); Kunsthaus Zurich, Zurich (2010); Bloomberg Space, London (2010); The Center for Contemporary Art – CCA, Tel Aviv (2009); Museum am Ostwall, Dortmund (2007); MoMA PS1, New York (2006) and Contemporary Arts Museum, Houston (2005). Amongst the various group shows, Adrian Paci’s work has also been featured in the 14th International Architecture Exhibition – La Biennale di Venezia (2014); in the 48th and the 51st edition of the International Art Exhibition – La Biennale di Venezia (respectively in 1999 and 2005); in the 15th Biennale of Sydney (2006); in the 15th Quadriennale di Roma, where he won first prize (2008); in the Biennale de Lyon (2009); and in the 4th Thessaloniki Biennale of Contemporary Art (2013). His works are in numerous public and private collections including Metropolitan Museum, New York, Museum of Modern Art, New York, Musée d’Art Contemporain de Montréal, Centre Pompidou, Paris, Israel Museum, Jerusalem, MAXXI, Rome, Fundacio Caixa, Barcelona, Moderna Museet, Stockholm, Kunsthaus Zürich, Zurich, UBS Art Collection, London, Museum of Contemporary Art, Miami, New York Public Library, New York, Solomon Guggenheim Foundation, New York, Seattle Art Museum, Seattle. Adrian Paci teaches painting at Nuova Accademia di Belle Arti NABA, Milan. He has been teaching art classes at Accademia Carrara di Belle Arti Bergamo, 2002-2006, IUAV, Venice 2003-2015 and has been giving lectures and workshops in many Universities, Art Academies and Institutions in different countries.
Marie Farrington (b. 1990, Dublin) is a sculptor who works with notions of landscape, architecture, geology, and memory. If sculpture functions as material traces of production, Farrington pinpoints attention towards the residual material environments that we inhabit through installation and photographic works. She completed her Fine Arts Master at NCAD, Dublin in 2016 and her bachelors from the Dublin Institute of Technology. Recent exhibitions have taken place at: Galerie Michaela Stock, Vienna (2022); VISUAL Centre for Contemporary Art, Carlow (2021); Leitrim Sculpture Centre (2021); Pallas Projects, Dublin (2019); IMMA, Dublin (2019); Highlanes Gallery, Drogheda (2019); Fingal Arts Office, County Fingal (2018); SÍM Gallery, Reykjavík (2018); Illuminations Gallery, Maynooth (2016); and RUA RED, Dublin (2015). She is currently working on a public sculpture commission for Skerries Art Trail in Fingal County, Ireland.
Ben Russell (1976, United States) is an artist, filmmaker and curator whose work lies at the intersection of ethnography and psychedelia. Russell was an exhibiting artist at documenta 14 (2017) and his work has been presented at the Centre Georges Pompidou (Paris); the Museum of Modern Art (NY); the Tate Modern (London); the Museum of Modern Art Chicago, the Venice Film Festival and the Berlinale, among others. He is a recipient of a 2008 Guggenheim Fellowship, a FIPRESCI International Critics Prize (IFFR 2010, Gijón 2017), and premiered his second and third feature films at the Locarno Film Festival (2013, 2017). Curatorial projects include Magic Lantern (Providence, 2005-2007), BEN RUSSELL (Chicago, 2009-2011), and Hallucinations (Athens, 2017). He is currently based in Marseille, France.
Karel Koplimets (b. 1986, Estonia) works with concepts of economy and precarity, paranoia and criminality. He is known for the immersive qualities of his large-scale video installations that play with the viewer’s sense of awe and space. He was a resident at HISK Ghent in 2020-2021 and previously studied at Prague’s FAMU and the Estonian Academy of Art. His recent exhibitions have taken place at: Hunt Museum, Limerick (2022); Gosset Site, Brussels (2021); Kumu Art Museum, Tallinn (2021); sonsbeek 20->24, Arnhem (2021); Lëtzebeurg Museum, Luxembourg (2021); Contemporary Art Museum of Estonia, Tallinn (2021); Tartu Art House,Tartu (2020); Kordon Art Residency Gallery, Kärdla (2020); Kuressaare Raegalerii, Kuressaare (2020); International Photography Festival of Belo Horizonte (2020); Kunsthal Ghent, Ghent (2020); and the first Riga International Biennial of Contemporary Art (2018) among others.
Denise Ferreira da Silva is a practicing artist and an academic – Director and Professor at the Social Justice Institute-GRSJ at the University of British Columbia. She is the author of Toward a Global Idea of Race (2007), A Dívida Impagavel (2019), and co-editor of Race, Empire, and the Crisis of the Subprime (2013). Her several articles have been published in leading interdisciplinary journals, such as Social Text, Theory, Culture & Society, Social Identities, PhiloSOPHIA, Griffith Law Review, Theory & Event, The Black Scholar, to name a few. Her work addresses the ethico-political challenges of the global present. She is a member of several boards including Haus der Kulturen der Welt (Berlin), International Consortium for Critical Theory Programs and the journals Postmodern Culture, Social Identities, and Dark Matter.Arjuna Neuman was born on an airplane that’s why he has two passports. He is an artist, filmmaker, and writer. He studied at the California Institute of the Arts. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He works with the essay form with a multi-perspectival and mobile approach where ‘essay’ is an inherently future-oriented and experimental mode, becoming the guiding principle for research and production, which shifts between the bodily, haptic, and affective through to the geopolitical, planetary and cosmological.His projects have been shown at major biennials and exhibitions worldwide.He also grows tomatoes and chillies in his studio.
Harun Morrison is an artist and writer based on the inland waterways. He was the 20/21 recipient of the Wheatley Fine Art Fellowship, hosted by Birmingham School of Art, Birmingham City University and Eastside Projects. He is currently Designer and Researcher in Residence at V&A Dundee. His forthcoming novel, The Escape Artist will be published by Book Works in 2023. Since 2006, Harun has collaborated with Helen Walker as part of the collective practice They Are Here. Harun has recently exhibited at Nieuwe Vide project space in Haarlem, Netherlands (‘Mark The Spark’ 17.03 – 15.05.22) and has a forthcoming exhibition at the Horniman Museum this summer. He is currently part of the APAP Performing Arts Network. Recent commissions include I’ll Bring You Flowers (2019) Survival Kit 10, Riga, Laughing Matter (2018) at Studio Voltaire, the performance 40 Temps, 8 Days (2017) at Tate Modern and Beacon Garden (2018 – 2020), a commission to co-design and community build a public garden in Dagenham, East London. This summer Harun continues to develop and repair a garden for Mind Sheffield, a mental health support service, as part of the Art Catalyst research program Emergent Ecologies.
Patricia Domínguez Claro (b. 1984, Santiago, Chile) is an artist, educator, and defender of the living. Her studies include a Master’s Degree in Studio Art from Hunter College, New York (2013) and a Botanical Art & Natural Science Illustration Certificate from the New York Botanical Garden (2011). Recent exhibitions include Screen Series, New Museum, NY; Rooted beings, Wellcome Collection, London (all 2022); Gwangju Biennale, South Korea; Transmediale, Berlin; La Casa Encendida, Madrid (all 2021), How to tread lightly Thyssen-Bornemisza Museum, Madrid; Madre Drone, CentroCentro, Madrid, and Cosmic Tears, Yeh Art Gallery, New York (all 2020); Green Irises, Gasworks, London; MOMENTA | Biennale de l’image, Montreal; The trouble is staying, Meet Factory, Prague (all 2019); What is going to happen is not ‘the future’, but what we are going to do, ARCOMadrid; Working for the Future Past, SEMA, Seoul (both 2018), among others. She has recently contributed to books such as Health (MIT Press/Whitechapel: Documents of Contemporary Art, 2020), Season 1 for st_age from TBA21 (2020) and was the recipient of the SIMETRIA prize to participate in a residency at CERN, Switzerland (2021). She is currently director of the experimental ethnobotanical platform Studio Vegetalista.
Patricia Dominguez / La Balada de las Sirenas Secas (The Ballad of the Dry Mermaids), 2020.Film written, directed and edited by Patricia DomínguezCamera and cinematography: Emilia MartínAssistant camera and sound recording: Ce PamsDrone recordings: Cárol Pastenes & Jorge PérezMusic by Futuro Fósil3D modelling and digital animation by Álvaro MuñozCast and dialogue: Las Viudas del Agua and Juan López (Singer to the Divine)LED costume: Alejando Abos-PadillaAguagramas costume design: Patricia ClaroSound design by Patricia Domínguez with additional sound effects by Ce PamsFilmed in:Petroglifos El Pedernal, Palquico, La Ligua, Plantaciones de aguacates El Carmen, (Province of Petorca, Chile)Acknowledgments:Curator Soledad GutiérrezMujeres del AguaMODATIMA (Movimiento de defensa del agua, la tierra y la protección del medio ambiente).MUCAM (Museo Campesino en Movimiento)Códice Maya Tro Cortesiano, Museo las AméricasGalería Patricia Ready
Ursula Biemann (b. 1955, Zurich, Switzerland) is an artist, author, and video essayist. Her artistic practice is strongly research oriented and involves fieldwork in remote locations from Greenland to Amazonia, where she investigates climate change and the ecologies of oil, ice, forests and water. Since 2018 Biemann has been working on a major commission by Museo de Arte, Universidad Nacional de Colombia for the co-creation of a new indigenous University in the South of Colombia and an online platform Devenir Universidad where she investigates on forest epistemologies and indigenous knowledge systems, to be premiered in November 2022. The artist had retrospective exhibitions at MAMAC,Nice, France; Neuer Berliner Kunstverein n.b.k., Berlin, Germany, Bildmuseet Umeå in Sweden, Nikolaj Contemporary Art, Copenhagen, Denmark, and the Helmhaus Zürich, Switzerland. She has also contributed to many group exhibitions in museums worldwide and has participated in International Biennials in São Paulo, Gwangju, Shanghai, Taipei, Sharjah, Liverpool, Bamako, Istanbul, Montreal, Venice, Thessaloniki, Sevilla, Beijing and Cuenca. She published several books and the online monograph Becoming Earth in 2021.
Beatrice Alvestad Lopez is a Norwegian visual artist based in Stockholm. Her work moves between practices of performance, poetic cinematography and installation of crafted objects. It is a context-based practice concerned with queer ecologies, hydro-feminism and rituals—all of which are themes that encourage living in tune with the landscape, spiritual and natural forces. Central to her practice is a connection to place and openness toward non-human, vegetative and planetary bodies through performative engagements with the surrounding environment. She records her engagements with the landscape through sound, film and photography and set up immersive installations in various mediums of photo-printed textiles, wood, metal, clay and found residue. She holds a BA in Textile from Nuova Accademia di Belle Arti, Milan with an exchange at Pratt Institute, NY. An MA in Craft from Könstfack, Stockholm. Alvestad Lopez has been awarded grants from Kulturrådet Norway, Helge Ax Jonson Stiftelse and Estrid Ericson Stiftelse. She received the studio fellowship Ateljéstipend from Luleå Kommun, Sweden for 2022. She has participated in various group exhibitions to name a few; Østlandsutstillingen, Heut Nieuw Instituut, Fotogalleriet, and a duo exhibition at Sagene Kunstsmie, Oslo in 2019. She co-founded the artist collective Vattenkompisar with curator Bronwyn Bailey-Charteris and is part of The Editorial Board Collective that recently launched a podcast episode to be part of the IASPIS program at La Biennale Arte 2022, Venice. Her upcoming plans are a residency at Kunstnerkvarteret Lofoten in August followed by a solo exhibition at BOY Konsthall in Autmn 2022 and at Luleå Konsthall in 2023.
Nona Inescu (b. 1991, Bucharest, Romania) completed her studies in the summer of 2016 at the National University of Arts in Bucharest in the department of Photography and Video after studying at the Chelsea College of Art & Design in London (2009-2010) and at the Royal Academy of Fine Arts in Antwerp (2010-2011). Her art practice is interdisciplinary and encompasses photographs, objects, installations and sometimes video works. Informed by theoretical and literary research, her works are centred on the relationship between the human body and the environment and the redefinition of the subject in a post-humanist key. Recent exhibitions have taken place at: Kunstraum Kreuzberg (Berlin); MAMAC (Nice); Radius (Delft); SpazioA (Pistoia); Centre Clark (Montreal); Volumnia Space (Piacenza); Mobius Gallery (Bucharest); Art Encounters Biennale (Timișoara); Steirischer Herbst (Graz); Peles Empire (Berlin); Tallinn Art Hall (Estonia); HUA Gallery (Berlin); and Galerie Axolotl (Toulon) among others.
Paige Emery is a multidisciplinary artist exploring the ecological body and ritual intercommunications that weave worlds. Through painting, music, installation, and performance, she traverses through forms of intercommunication between the psychic and physical and humans and nonhumans. An embodied gardener and environmental activist, she has a daily practice with plants and land stewardship that informs all of her work. Her artwork seeks to cultivate magical openings for how we can coexist in more-than-human ways on this Earth. She is a Supercollider SciArt Cohort, Co-Director at activist and theory group, The Future Left, and a researcher at New Centre for Research & Practice. She received her Bachelor’s Degree in Fine Arts from Laguna College of Art & Design. Emery has exhibited and performed at places such as Getty Museum, Los Angeles, Biosphere 2, Arizona, and Biennale Gherdëina, Italy.
Chen Wei (b. 1980, Zhejiang Province, China) is a photographer whose idealistic and staged scenes find themselves at the crux between illusion and quotidian reality. Inspired by the early history of science, alchemy, and philosophy, his photographs capture how images can translate materiality in flux. His recent exhibitions have taken place at the West Bund Museum, Shanghai (2021); HOW Art Museum, Shanghai (2021); Büro Basel, Basel (2019); Chi K11 artspace, Guangzhou (2018); Galerie Rüdiger Schöttle, Munich (2018); Pilar Corrias, London (2018); Centre for Contemporary Photography, Melbourne (2017); JNBY Art Space, Hangzhou (2016); and the Australia China Art Foundation, Sydney (2014) among others.
Emilija Škarnulyte (b. Vilnius, Lithuania 1987) is an artist and filmmaker. Working between documentary and the imaginary, Škarnulyte makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. Her blind grandmother gently touches the weathered statue of a Soviet dictator. Neutrino detectors and particular colliders measure the cosmos with otherworldly architecture. Post-human species swim through submarine tunnels above the Arctic Circle and crawl through tectonic fault lines in the Middle Eastern desert. Winner of the 2019 Future Generation Art Prize, Škarnulyte represented Lithuania at the XXII Triennale di Milano and was included in the Baltic Pavilion at the 16th International Architecture Exhibition – Biennale Architettura 2018. With solo exhibitions at Tate Modern (London); Kunsthaus Pasquart (Biel); Den Frie (Copenhagen); National Gallery of Art (Vilnius); CAC (Vilnius); and Kunstlerhaus Bethanien (Berlin). She has participated in group shows at Ballroom Marfa, Seoul Museum of Art, Kadist Foundation, and the First Riga Biennial. In 2022 Škarnulyte participated in the group exhibition “Penumbra” organized by Fondazione In Between Art Film on the occasion of the 59th International Art Exhibition – La Biennale di Venezia. Her numerous prizes include the Kino der Kunst Project Award, Munich (2017); Spare Bank Foundation DNB Artist Award (2017); and the National Lithuanian Art Prize for Young Artists (2016). She received an undergraduate degree from the Brera Academy of Art in Milan and holds a masters from the Tromsø Academy of Contemporary Art. She is a founder and currently co-directs Polar Film Lab, a collective for analogue film practice located in Tromsø, Norway and is a member of artist duo New Mineral Collective, recently commissioned for a new work by the First Toronto Biennial.
Panos Aprahamian is a filmmaker, writer, and artist living and working in and around Beirut. His practice explores the spectral presence of the past and the future in bodies and landscapes. He studied at the Lebanese Academy of Fine Arts and the University of the Arts London and was a Home Workspace Program fellow at Ashkal Alwan. He has taught in the Fine Arts and Art History Department and Media Studies Program at the American University of Beirut. His work has been shown at Mediterranea 19 Biennale, San Marino (2021), European Media Arts Festival, Osnabrück (2021), OUTROS Festival de Arte, São Paulo (2021), ECLAT Festival, Stuttgart (2021), 20/20/on/offline, Beirut Art Center (2020), Beirut Lab: 1975(2020), Room Gallery, Irvine (2019), Golden Apricot International Film Festival, Yerevan (2017), and Open City Doc Fest, London (2015). His writing has appeared in Funambulist Magazine, Arts of the Working Class, Journal Safar, 17Teshreen, Khabar Keslan, and The Public Source as part of their Dispatches from the Revolution series.
Letícia Ramos (b. 1976, Santo Antônio da Patrulha, Brazil) explores the limits of the production and exegesis of analog images through photographic and filmic works, which she also develops into installations, objects, publications and performances. Her practice is directed towards the aesthetic intersections between the documentary and the fictional, occurring between natural and imaginary landscapes, between the discourses of historical records and those of invented characters. Using rigorous technical and formal procedures as a point of departure, the artist emulates aspects of scientific expeditions in order to guide us along ambiguous and atemporal objects and themes. In this sense, she builds inventive photographic apparatuses – such as cameras, models and sets – in order to think about the use of these devices as elements of speculation, representation and production of geographic and poetic terrains. Her selected solo exhibitions include HISTÓRIA UNIVERSAL DOS TERREMOTOS, Itinerarios XXIII, Fundación Botín, Santander (2017); VOSTOK – Um prólogo, Pivô, São Paulo (2013); Bitácora, Mendes Wood DM, São Paulo (2012); Escafandro, La Bande Video, Quebéc (2011); ERBF – Estação Radiobase Fotográfica, Centro Cultural São Paulo, São Paulo, (2009/2010). Additionally, her work has been included in institutional group exhibitions such as Biennale Jogja XII, Jogja (2017); Hercule Florence: Le nouveau Robinson, Nouveau Musée National Monaco, Villa Paloma (2017); 18º Festival de Arte Contemporânea Sesc Videobrasil – Panoramas do Sul, Sesc Pompéia, São Paulo (2013); Expo Projeção 1973-2013, Sesc Pinheiros, São Paulo (2013); Se o clima for favorável / Weather permitting… 9ª Bienal do Mercosul, Porto Alegre (2013); Programa de Fotografia, Centro Cultural São Paulo, São Paulo (2012); Trilhas do Desejo, Rumos Artes Visuais, Itaú Cultural, São Paulo (2009).
Su Yu Hsin (b.1989 Taiwan) is an artist and filmmaker currently based in Berlin. She approaches ecology from the point of view of its close relationship with technology. Her artistic practice is strongly research oriented and involves field work where she investigates the political ecologies of water and reflects on technology and the critical infrastructure in which the human and non-human converge. Her analytical and hydropoetic storytelling focuses on map-making, operational photography, and the technical production of geographical knowledge. Her film and video installations are exhibited worldwide in museums and International Art Biennials: the Centre Pompidou-Metz, the Museum of Contemporary Art Busan, Taipei Biennial 2020, ZKM Karlsruhe, UCCA Center for Contemporary Art and Haus der Kulturen der Welt, among others. Her solo exhibition wet mechanics of seeing is currently on view at Kunsthalle Winterthur.
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