From Mars to Venus: Activism of the Future published in catalogue edited by Claudia Emmert, Jürgen Bleibler and Ina Neddermeyer.
In recent decades, the extraction of raw materials has increasingly developed into an ecological, economic, political, and social problem of global proportions. Large-scale mining operations and the exploitation of ecological and social systems are one of the most serious threats facing the environment today. In many places, the effects are catastrophic and yet the fight over resources continues unabated. Since the resources on Earth are finite, there is a constant search for new mining sites that sometimes seem surreal, such as with deep-sea mining and deep-space mining.
Into the deep takes a critical look at the history and presence of the extraction of resources, which are inextricably linked to environmental destruction and colonialism. The many-layered complexities of mining for raw materials in the deep sea and in space are examined, as well as forms of resistance and activism against the exploitation of people and the environment. Drawing on Friedrichshafen’s history of industrialism, the exhibition also focuses on the raw material aluminum, the metal of flight, which requires large amounts of energy to be extracted from the rock bauxite and not only causes environmental damage, but also produces the toxic waste product red mud.
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Eduted by Boaz Levin/Kathrin Schönegg.
Image Ecology offers an survey of new approaches to environmental photography. In an attempt to document the systemic causes of the climate crisis, works in the exhibition explore their own material and social conditions. The exhibition disentangles photography as an ecological practice, a medium that is defined as much by the nexus of material, labor, energy and waste that its production and circulation require as by what it represents.
Featuring an extensive essay by environmental historian Jason W. Moore, and contributions by over a dozen international writers, the catalogue unpacks its own production process: from material supply chains to working conditions to wrapping and postage. Made possible by the Crespo Foundation.
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Catalogue edited by Sarah Tuck and Louise Wolthers.
Drone Vision addresses questions of how visibility and verticality are intrinsic to drone technology and its meanings for artistic and political praxis. This book is based on the two-year research project Drone Vision: Warfare, Surveillance, Protest – a collaborative initiative between HDK-Valand, University of Gothenburg, the Hasselblad Foundation, NiMAC, Nicosia Municipal Arts Centre and the National College of Arts in Lahore.
Led by Dr. Sarah Tuck, the research project explores the affective meanings and implications of drone technologies on warfare, surveillance and protest.
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El cuarto mundo is utopian place that allows us to reflect on the current state of socio-environmental crisis from the relationships between arts, sciences and nature. The title is inspired by the work of the Chilean artist Carlos Ortúzar (1935-1985). The sculpture, the result of a profound convergence between arts, crafts and public space, was materially recreated to inaugurate the biennial and formed the orientation nucleus for the various venues where this artistic meeting took place. In these pages you will find together the 17 exhibitions carried out with the participation of more than 50 national and international artists in different cultural spaces. Read, download and share the catalog of «El cuarto mundo», the 14th BAM held in 2019.
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Edited by Claudia Emmert, Jürgen Bleibler and Ina Neddermeyer.
Drones are considered the most important war technology since the invention of the atomic bomb. Drones can be deployed remotely, e.g. for targeted military operations, without endangering any other crew on board. At present, drones are not yet autonomous systems that make their own decisions. However, in combination with artificial intelligence, they can become sinister weapons of war. This development into learning and autonomously operating machines raises ethical questions that need to be considered, especially against the backdrop of economic and military interests.
As unmanned aerial vehicles, drones are not only used in the military sector, but also for a wide variety of civilian purposes, including border control, surveillance, data collection, agriculture and the service sector. Drones have thus arrived on the mass market.
Today’s drones are further developments of unmanned balloons, remotecontrolled weapons and model airplanes for civilian and military purposes. Based on this historical context, the exhibition examines the use of drones and their hybrid function as toys, war technology and economic factor. As a technology that unites absolute opposites, the exhibition shows its contradictory nature in all its facets.
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Copper Geographies displayed during exhibition with 50 photobooks by artists and artist collectives whose work urgently responds to the climate crisis.
The artists represent 36 different countries from six continents, and their projects have been created in regions that span the entire planet. Their photo books offer a striking comparative analysis of a global phenomenon that has reached a state of emergency.
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Publication on the occassion of exhibition at MSSA and Bienal de Artes Mediales.
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Exhibition catalogue by Ignacio Acosta and Jakub Bojczuk. Curated by Agnieszka Kulazińska.
Mapping Domeyko , is a project inspired by the expeditions of Ignacy Domeyko. Through a constellation of materials, including drawings, historical photographs, objects and new photographic series, the project builds a visual archive that speaks about the relationship between history, mineralogy and migration.
Based on My Travels (Diaries in Exile), the project maps out Domeyko’s global movements, exploring his blurred national identity between Chile, Lithuania and Poland.
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Publication of Noorderlicht Festical, Arena a forensic look at the traces left behind in the landscape, running from 22 May through to 3 July at Museum Belvédère in Heerenveen. 21 artists from around the world unearth the stories that take place on and under the skin of the landscape.
We live in a time when our global culture has subordinated nature. It has become almost impossible to experience unspoilt land, no matter how far we direct our gaze.
What remains once humanity and its thirst for action has left the stage, in search of ever-greener pastures?
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