MOTION | "111" | Septmeber (ongoing) 2023 | Worldwide
111 is curatorial statement from one of the UK’s most elusive artists, drawing on visual, recorded and live performance. The series will see 15 collaborations in total, each unfolding as a cycle of single releases, each created with a diverse selection of artists from across the globe. Louis Carnell conceived of 111 as an endeavour to trace the shape of hope, in an epoch of disintegration.
EXHIBITION | Collective Oslo | 17th, July 2021 - ongoing | Group show | Oslo, Norway
COLLECTIVE OSLO launched the first edition of its new ARTillery exhibition series; #1_REALIA at the FHILTEX building next to Skur 13 in the Oslo Harbour.
Curated by Riccardo Ruini, Hilde Pettersen Reljin & Rita Mostrøm Larsen
ENVIRONMENTAL MOTION PROJECT | Sea of Marmara, Turkey
Sea Snot is a term used to describe a thick and viscous layer of organic matter that accumulates on the surface of the sea. This phenomenon is a result of the over-pollution of our oceans and the increased amounts of dead organisms in the water. The light from the sun is the only source that keeps the underwater ecosystem alive, but humanity's actions are destroying it. The accumulation of sea snot not only suffocates the underwater ecosystem but also disrupts the delicate balance of marine life, leading to the death of countless species. This is a sobering reminder of the impact that humans are having on the planet and the importance of taking immediate action to preserve our oceans and the life within them.
EXHIBITION | LaBase de la Marina | 7th, November - 17th, November, 2019 | Valencia, Spain
ASPHYXIA is an artistic response to a scientific fact evoked by human actions: plastic has become an agent in the process of evolution. Produced over only one century of human history, man-made synthetic compounds are no longer separate from natural history. Visible and invisible alike, plastic joins the large group of elusive signifiers of the age of anthropocene.
While plastic often serves as one of the most perceptible signs for late capitalism’s impact on the natural environment, the micro-history of plastic is a tale not yet apparent to the human eye. Scientists, however, have observed microorganisms absorbing polyethylene particles for many years. Marine plankton, for example, is known to consume microplastic particles present in our oceans on a large scale. Instead of being harmed or killed by the foreign intake, plankton seems to adjust its own molecular compounds, that is: its physical configuration, in response to the consumption of plastic. In other words, plankton has begun to absorb plastic.
The outcome of this conjunction is yet unknown and unpredictable. Yet, scientists have given us various reasons to believe that nature’s adjustment to “eating” plastic happens faster than expected. What if a century of plastic production and littering has already caused environmental changes? What if evolutionary steps based on the bond between organisms and synthetic plastic have already begun taking place? At the threshold to the second decade of the 21st century, a future with polyethylene-mutated species has become imaginable.
At the base of this imagination lies the question: will this future still be welcoming to the human race? The future we see and fear is a future without humans. For centuries, mankind had thought that the world’s creation followed a plan. On the contrary, modernity has taught us that evolution is subject to chance and coincidence. Today, we face the reality that our actions play a part in this process. We are able to imagine ourselves replaced by species that evolved out of our own industrial production.
ASPHYXIA is an attempt to make visible the invisible story behind plastic. A man-made dissemination of plastic and its microparticles a mere accident? Or, is our history just one part of nature’s plan for planetary development, shaped by us but eventually surpassing us? Have we even begun creating deformed species of unspeakable evolutionary force? Survival is a drive deeply programmed in any natural being’s DNA. Thus, action for environmental justice and securing life on this planet is part of this story.
This is as an interpretation of this action.
EXHIBITION | aesthetik01 | 29th, June - 12th, July, 2019 | Solo show | Berlin, Germany
Mankind has begun asking what the next evolutionary step might look like. Humanity remains anxious of the unknown, thus excluding anything that challenges established patterns of thought. The human condition? A repetitive error that prevents our evolution? A standstill that is caused by mere mental apathy?
If moving forward means evolution and evolution is a forward motion, we need to reconcile with our nescience. Allowing the exploration of what lies beyond.
EXHIBITION | Space Place | 26th, July - 9th, August, 2019 | Solo show | Nizhniy Tagil, Russia
Mankind has been looking for short-cuts in science, scientific approaches or any tactile practice.
Seeking for shortcuts in scientific matter has always felt unnatural or as it was a driven human pragmatism.
What we know and proofed so far is that wormholes exist in our galaxy.
My question is: does mankind behave according to it’s instinctively driven species' nature that
tries to find the shortest way or most simple solution to solve mathematical or physical questions that relate e.g. to outer space? It might be an unnatural behaviour that proofs that an „intelligent“
extra terrestrial species can behave in a natural counter flow and its principles. Questioning that
blackholes are created by intelligent species from other galaxies.
All that we can observe in outer space from nebula phenomena shaping new inhabitable or perhaps habitable planets or galaxies to supernovi in neighbour galaxies.
My personal question: is time a variable that keeps us away from the slightly close answer to that question?
Have we become slaves of our self-created variable called time?