June 17, 4-5PM AEST: How can art and science work together to contribute towards sustainability? I’m stoked to give a talk on The Creative Resistance: Art, Science, and Systems Change, and be on the panel on Arts-based Methods for Transformations 2021! I’ll be speaking about my art practice since 2013, and will focus on my PhD work here in Sydney. See you there!
About Transformations 2021: Enabling Positive Tipping Points in an Uncertain World
In 2020 a tipping point may have been crossed on how societies worldwide deal with multiple overlapping crises. On an unprecedented scale we see groups and communities mobilizing to re-imagine and transform the pre-pandemic systems which led to current vulnerabilities, risks, and unsustainable practices. This challenging but also fertile moment calls for urgent knowledge synthesis able to enact positivetipping points and tipping interventions towards new regenerative development trajectories.
Keynote speakers: Jessica Clark – Research affiliate at MIT Open Documentary Lab, publisher of Immerse.news
Kate Raworth – Co-founder of Doughnut Economics Action Lab
Ailton Krenak – Philosopher and indigenous movement leader of Krenak ethnicity, Brazil
Heila Lotz-Sisitka – Distinguished Professor at Rhodes University
Our Entangled Future, a climate fiction anthology of inspiring and hopeful stories, will have two virtual readings this month. I will be reading my olfactory story, The Ephemeral Marvels Perfume Store, for the second event. The series is hosted by cCHANGE Transformation in a Changing Climate and AdaptationConnects at the Department of Human Geography of the University of Oslo. Come spritz your favorite scent while I read you my story!
Series 1: 9:00 -10.30am CEST, Thursday 13 May 2021 (5-6:30PM Sydney) Series 2: 9:00 -10.30am CEST, Friday 21 May 2021 (5-6:30PM Sydney)
I’m stoked to contribute my first academic book chapter in Communicating in the Anthropocene: Intimate Relations” edited by Vail Fletcher and Alexa Dare. I’ve given the final chapter: Subversive Art: Communicating the Climate Crisis on a Planetary Scale, which details my art practice, specifically The Apocalypse Project body of work.
The purpose of Communicating in the Anthropocene: Intimate Relations is to tell a different story about the world. Humans, especially those raised in Western traditions, have long told stories about themselves as individual protagonists who act with varying degrees of free will against a background of mute supporting characters and inert landscapes. Humans can be either saviors or destroyers, but our actions are explained and judged again and again as emanating from the individual. And yet, as the coronavirus pandemic has made clear, humans are unavoidably interconnected not only with other humans, but with nonhuman and more-than-human others with whom we share space and time. Why do so many of us humans avoid, deny, or resist a view of the world where our lives are made possible, maybe even made richer, through connection? In this volume, we suggest a view of communication as intimacy. We use this concept as a provocation for thinking about how we humans are in an always-already state of being-in-relation with other humans, nonhumans, and the land.
The book is edited by C. Vail Fletcher And Alexa M. Dare with contributions from Carol Adams; Paul Alberts; Katharina Alsen; Anne Armstrong; Joshua Trey Barnett; Christianna Bennett; Peggy Bowers; Suzanne Brant; Chelsea Call; Laura C Carlson; Patricia Castello Branco; Amal Dissanayaka; Marybeth Holleman; Jessica Holmes; Kathy Isaacson; Deepani Jayantha; Michaela Keeble; Marianne Krasny; Libby Lester; Todd Levasseur; Lyn Mcgaurr; S. Marek Muller; Anna Oehlkers; Peter Oehlkers; Elizabeth Oriel; Emily Plec; Joshua Potter; Paul Pulé; Jenny Rock; Madrone Kalil Schutten; Ellen Sima; Richard Stedman; Carie Steele; Mark Terry; Mariko Oyama Thomas; Keith Williams; Çağri Yilmaz and Catherine Sarah Young.
inVivo, a collaborative network for planetary health, is holding its 9th annual conference virtually from December 2-9. I’ve been invited to speak at Session 2 for a short talk on “The Artist as Rebel” and by artist, I mean all of us.
There is an opening keynote by Cornel West and keynote address by Deepak Chopra and lots of speakers from various disciplines.
The Weighing of the Heart” is currently on exhibition for the group exhibition “Stress Rehearsal” at das weisse haus in Vienna, one of my previous and favorite home cities! Thank you to The Peace Studio to which I first presented this work, curator-in-residence @malousolfjeld for her support, the UNSW Design Futures Lab , my accidental home for the past month, and my PhD supervisors!
The Weighing of the Heart
Australian bushfire remains, resin
Human heart sculptures are cast out of ashes and other organic remains from the Australian bushfires. I reference the scene of the “Weighing of the Heart”, a spell in the Egyptian Book of the Dead in which the heart of Imhotep is weighed against a feather. If the heart fails to balance it will be eaten by the beast, Ammut, and Imhotep will be condemned. If the scales remain balanced, Imhotep enters the afterlife with the other blessed dead. In casting the ashes with resin, I arrest metabolism of the remains back into the soil, creating objects of memory in a political landscape that forgets the bushfire crisis periodically, only to remember them when the next bushfire crisis commences with greater intensity.
From the curatorial statement:
with Mohamed Allam, Will Benedict, Daniel Mølholt Bülow, Gillian Brett, Rah Eleh, Rachel Fäth, Line Finderup Jensen mit Adnan Popovič, Juri Schaden & Parastu Gharabaghi, Lola Gonzàlez, Hanna Husberg & Laura McLean, Mohammed Laouli, Yein Lee, Elisabeth Molin, Jean Painlevé, Oliver Ressler, Clemens von Wedemeyer, Catherine Sarah Young curated by Malou Solfjeld (Curator in Residence 2020)
Exhibition duration: October 29 – December 12, 2020 Exhibition start: October 28, 2020, 4-9pm
Expressions of solidarity on balconies, grounded planes on international airfields, tales of a reviving non-human natural world – for many, the COVID-19 pandemic nurtures hopes for more communal, equal and caring futures. At the same time, however, the global health crisis gives reasons for more dystopian prospects of co-existence on this planet. Among other things, it further mobilises xenophobic sentiments and multiplies social inequalities. More so, it has thwarted the momentum of climate activism in the media to the extent that scholars like the French philosopher Bruno Latour have declared the pandemic a “dress rehearsal” for the exacerbating climate catastrophe ahead of us.
Deliberately emphasising and yet not isolating ecological queries and concerns, the group exhibition “Stress Rehearsal” zooms into the abyss; into the bushfire in Australia, oil tanks sinking into the ocean, into the sea level rise on the Maldives and open landfills in Morocco. It brings together works by an international cohort of artists to critically reflect on the entanglements of the global pandemic, climate crisis, mass extinction, social inequality and turbo-capitalism. Gathering a hybridity of perspectives from the past, present and future, “Stress Rehearsal” collapses the linearity of time in order to activate our senses in the here and now. What is our individual as well as our collective responsibility towards more livable futures? What kind of new forms of agency do we need to craft in order to co-shape worlds-in-common – on- and offline, with the living and the non-living?
The exhibition unpacks questions like these in three different sections; We created this beast (referring to Bram Ieven and Jan Overwijk’s eponymous text), The pandemic as a dress rehearsal (in line with Bruno Latour’s essay Is this a dress rehearsal?) and The pandemic is a portal (alluring to Arundhati Roy’s eponymous article). The latter division is conceived as a laboratory of sorts, an accumulating digital archive of links and texts, videos and images. It serves as a multi-vocal platform where artists, curators, scholars, activists and visitors alike are invited to contribute and negotiate visions and perspectives on how to live together otherwise. The show consciously hosts a majority of video works as a means to reflect on contemporary modes of perception and consumption. It has been developed by the curator Malou Solfjeld with the support of Alexandra Grausam, Aline Lenzhofer and Frederike Sperling from das weisse haus team.
The story revolves around a female perfumer who lives in a future time when climate change has eradicated a lot of scents and she tries to preserve as many of these as possible. One day, she receives a knock on a door from a client who searches for her to create a perfume that has not been smelled in a very long time.
The Sewer Soaperie, part of The Apocalypse Projectbody of work, will be at the month-long DISPOSABLE group exhibition by Science Gallery Melbourne beginning August 1.
The Sewer Soaperie is an interactive experimental art project about turning raw sewage and used fats into soap to raise awareness on the fatbergs clogging sewer systems around the world, and how this will worsen flooding brought about by the more intense storms of the Anthropocene.
The audience will be invited to wash their hands with the soaps, but please do so at your own risk. There are three types of soaps: those made from palm oil, those made from used oils, and those made from sewage. These were all boiled and then mixed with the appropriate amount of sodium hydroxide method to create soap. If you’d rather not touch the soaps (I don’t blame you), there are other ways of perceiving the work, such as through sight (Observe the physical differences and ask what type of fats might be in these different-colored soaps?) and smell (Some have said they smell like cookies, others have said chicken. What do you think they smell like?)
Follow the hashtag #SewerSoaperie for updates!
Image credits: First image – 1335Mabini; all the rest: Studio Catherine Sarah Young (Photography by Rache Go, hair and makeup by Rori de la Cruz). Thank you to Science Gallery Melbourne curators Tilly Boleyn, Veronica Dominiak, and Ryan Jefferies, and the fantastic Science Gallery Melbourne team!
Ice Chess examines the Arctic crisis and inspires viewers and participants to reflect on the situation up north. A map of the Arctic with its indigenous peoples is printed on a chessboard with pieces cast out of ice. Inside the pieces are toy soldiers and that represent the players in the emerging “battle” of the Arctic—the political and industrial figures that have big stakes in oil and shipping that stand to gain from melting ice and the emerging maritime routes as a result, and the pawns that represent the countries that will be affected by sea level rise and that are sacrificed in order to achieve these goals.
In these urgent times, now is not the time to romanticize the Melt. In a game with high stakes, who is responsible? On the edges of the board are freestanding soldiers and figures that represent observer countries and other affected nations, and anonymous figures that represent globally concerned distributed people. The battle is on, and we are all watching with bated breath. Ice Chess uses art and science to interrogate, to speak truth to power, to point to the powerful entities who are primarily responsible for what is affecting the whole planet.
Chess is one of the oldest skill games in the world and has been
played for over 5000 years. Chess spread around the world through
colonization and trade. The objective of chess is to trap the king—to
checkmate him—and it wins the game. Chess is historically played
by the wealthy. In this project, it references wealth inequality, one of
the systemic causes of climate change.
Chess is metaphorical of how humanity has treated nature—as a
game of strategy where we seek to exploit it and each other. It takes
this further by actually melting the project with the aid of the
players—a reference to how we collectively have caused the Arctic
to melt and how we can also put a stop to it.
This game does not intend to pit one human being against the other (or one country against the other), which risks oversimplification. Rather, each player represents a set of alternative possibilities that, when the game is played, clash to produce permutations of consequences. In the game, players and the audience are allowed to view the many entanglements that a wicked problem such as the Arctic crisis can provide.
A primary reason for economic interest in the Arctic is the emerging
Northern Sea Route, which will connect Western Europe and Asia. This
could make shipping up to 14 days faster than the southern route via the
Suez Canal. In 2018, the Venta Maersk, owned by Maersk Line and
carrying 3,600 containers, successfully set sail from Vladivostok to St.
Petersburg—the first container ship to tackle the Arctic sea route north of
The Chessboard & The Pieces
The board is a map of the Arctic labeled with indigenous communities,
seas, emerging shipping routes—all of these will be names we would hear
more about in the coming decades. This map represents the battleground
where a literal and figurative cold war is already happening.
The powerful row of pieces—the king, queen, bishop, knight, and
rook—represent the Arctic Council nations: Russia, USA, Iceland, Finland,
Sweden, Norway, Canada, and Denmark. The row of pawns represent
countries around the world that are and will be most affected by sea level
rise. Surrounding the board are Arctic Council observer countries, other
nations affected by sea level rise, and anonymous figures that represent
globally distributed concerned people.
Climate Change & the Great Lakes
The Great Lakes contain 5,500 cubic miles of freshwater, one of the biggest freshwater resources of the world. It supports more than 34 million people who live within its Basin. These people rely on the lakes for drinking water, fisheries, recreation, and industry. Climate change is already affecting these ecosystems through extreme weather, decreased crop yields, heat waves and consequent poor air quality, stress on water quality and infrastructure, affected navigation and recreation, and impact on wildlife.
Thank you to curators Mark Valentine Sullivan and Antajuan Scott and the rest of the Science Gallery Detroit team!
C-Platform, a culture and art research and curatorial organization focusing on current trends and future concepts in the realm of mixed media based in Xiamen, China, profiles The Apocalypse Project series. Many thanks to all the residencies and grants that have supported this work. I trace my Chinese half from Xiamen so this is quite special for me, indeed. Xie xie!
The Planetary Renewal Spa (2018- ) is a series of self-care performance rituals that illuminate the effects of climate breakdown. The spa currently offers two services: Back Massage to Simulate Hurricanes and Disappearing Honey Facial.
The Planetary Renewal Spa: Back Massage to Simulate Hurricanes
Back Massage to Simulate Hurricanes takes clients on a sensory experience of a hurricane, from light feathery touches of the coming storm to a full catastrophe.
The Planetary Renewal Spa: Disappearing Honey Facial
Disappearing Honey Facial gives clients a relaxing facial massage using raw honey while the artist narrates the story of bees disappearing because of climate change.
The Planetary Renewal Spa: Back Massage to Simulate Hurricanes
The Planetary Renewal Spa was first performed at Red Gate Gallery in Beijing as part of my residency as the 5th Crystal Ruth Bell resident of China Residencies.