The exhibition "The coming world: ecology as a new policy. 2030-2100" automatic translate
с 28 Июня
по 1 Декабря
ул. Крымский Вал, д. 9, стр. 32
Participants: Kim Abeles, John Akomfra, Elin March Øyen Wister, Turi Vrones Ben Woodard, Gints Gabrāns group "Nest", Karel Dujardin, Helge Yordheym, Maurizio Cattelan, Sergei Kishchenko, Le Corbusier, Lawrence Lek, Michael Matyushin, Eadweard Muybridge, Alexander Obrazumov, Dan Perzhovski, Lia Perzhovski, Patrice Piccinini, Anastasia Potemkina, Salomon van Roysdal, Sasha Poflepp, Laure Provo, John Rafman, Pamela Rosencrantz, Martha Rosler, Boryana Rossa and Oleg Mavromatti, Tita Sasla Sasina Rosencrantz, Martha Rosler, Boryana Rossa and Oleg Mavromatti, Tita Säla Säselka Rosenkranz, Martha Rosler, Boryana Rossa and Oleg Mavromatti, Tita Säla Säselka Rozenkranz, Martha Rosler Denis Sinyakov, Victor Skersis, Sun Yuan and Peng Yu, Hey Den Fowler, James Ferraro, Bill Fontana, Hans Haake, Juan Yoon Ping, Susan Schuppli, Gerry Noise, Doug Aitken, Max Ernst, Mella Yarsma, Allora & Calzadilla, Critical Art Ensemble, Driessens & Verstappen, finger, Numen / For Use, Rimini Protokoll, Studio Drift and Wooloo.
Large-scale exhibition project “The coming world: ecology as a new policy. 2030–2100 ”will unite historical and new works of more than 50 authors from Russia and the whole world and will occupy the entire space of the Museum. The project is focused on the future, more precisely, on the future - the future that is in its development and in which the environmental agenda will become one of the key political issues.
The time period indicated in the title of the exhibition refers to two dates from the field of popular science and science fiction classics. Thus, according to many forecasts (in particular, the famous ecologist and demographer Paul Ehrlich), the date of exhaustion of world oil reserves and, accordingly, the end of the oil age was 2030. On the other hand, in 2100, the famous science fiction writer Arthur Clark dated in the 1960s the possibility of humanity settling other stellar worlds and achieving immortality. Thus, the exhibition refers to a short period in the future, when people will have to accept the fact that "we have no other planet" (the famous slogan of environmentalists "that’s no planet B") - right up to an imaginary moment when the development of technology will make the colonization of other worlds possible. Therefore, on the one hand, we are talking about a speculative future, the chronological framework of which is outlined by outdated forecasts and reflects all the “instability” of our knowledge about it. At the same time, we proceed from a “performative” understanding of the future, which is constructed in the present tense and depends on our actions now. As the theorist and art critic TJ Demos noted in the article “Art after nature” (2012), “just as nature is no longer perceived as a primordial, pure, separate from human sphere, so does the autonomy of art in the face of environmental catastrophe doubtful.
The “coming world” is unfolding around two themes - environmental protection and a broader understanding of ecology. The first insists that the issues of climate change, extinction of species, pollution, renewable natural resources, overpopulation, etc., can no longer be perceived as incidental and insignificant and should be decisive in everyday politics: production, consumption, education and leisure. In turn, an expanded understanding of ecology implies a close connection of biological, technological, social and political ecosystems. At the same time, ecology is understood as a continuous interaction of humans, inanimate nature and other biological species, that is, performatively, as “ecology in action”. This allows us to think of nature not only in abstract, but also in concrete, active and interdependent categories - through everyday interaction with it.
The first project of the “Future of the World” will be the premiere showing of the six-channel video installation of John Acomfra “Purple” (June 15 - November 17). Combining archival film material and new footage made on different continents, the British artist created an impressive video arcade about global climate change and its consequences for humanity and the biodiversity of the planet.
The exhibition will feature a number of historical works that outline turning points in the relationship between art and nature - from tapestries of the XVI century, where nature was first seen outside human control, before the beginning of the landscape genre in Dutch painting of the XVII century and the development of "organic culture" in the Russian avant-garde Land Art, which arose in 1969, when natural materials as such became a full medium of modern art. A half-century ago, the development of land art and environmental protection coincided with a growing public interest in environmental protection, which led to the emergence of environmental policy at the state and civic levels. For the same half a century, art experienced a complex history of relations with the environment - from the objectification of nature to understanding it as a system (for example, in the installation “Circulation” by Hans Haack), from the irony about ekoritoriki (as in the Minute of Inhalation for the Environment) "Nest") to practical proposals for real life in the projects of the Danish team Wooloo.
Along with the authentic evidence of recent man-made disasters (Alan Sekula’s Black Tide / Marea Negra series) or criminal defamations about them (Susan Schuppli’s Slow Decay installation), the exhibition presents projects created with the participation of animals as agents of new relationships and a new paradigm of coexistence nature, humans and non-human species (Thomas Saraceno, Hayden Fowler), as well as various future scenarios associated with scientific predictions and theories.
“The coming world” makes it possible to realize the ecological imbalance, which for the most part is created by human activity and which many of us try not to notice due to its abstract-huge scale and impersonal-distant dimension. Offering to meet him face to face, the exhibition, on the one hand, works with this repression, revealing its symptoms in different stages of anxiety or denial, and at the same time offers a kind of elaboration and therapy of our common “ecotrauma”. And although environmental problems are usually attributed to the realm of real life and political practice, art in this regard is a unique “conductor”. Art plays its role in the production of images charged by the future, and its agents are able to detect unobvious connections, to combine various types of knowledge, interests and competencies, thereby embodying an ecological way of thinking. In the end, it is the environmental agenda in the modern world that is the most universal, because only it can unite people all over the world, allowing them to feel tiny personal action as political.
The exhibition is organized in dialogue with artists and activists and reinterprets the exhibition practice itself in an ecological context. In particular, the architecture of the exhibition is based on the principle of processing architectural structures from previous expositions. In an effort to reduce the carbon footprint left by the exhibition, the curators refused to transport the works where it was possible, and some of the works were recreated according to the instructions of the artists (Martha Rosler, Tita Salina). 14 works will be created specifically for the exhibition and 10 works are new versions of existing works. Some of them were created in direct collaboration with local expert communities — bee breeders, jellyfish researchers, water purification specialists, etc. Some projects are connected with artistic strategies at the intersection with social action — for example, the Wooloo community open to participation ( www.humanhotel.com). Responsible approaching to printed products, the project team refused to print booklets, however, a digital catalog of ecotermines in Russian sign language was prepared for the exhibition, a digital catalog, mobile and audio guides, and a video terminator developed by the inclusive department of the Museum.
The Garage Atrium Commissions program at the Museum Atrium will feature a new work by Chinese artist Huang Yoon Ping “American cuisine and Chinese cockroaches. 1959–2019 ”, referring to the famous“ kitchen debate ”between Richard Nixon and Nikita Khrushchev at the opening of the American National Exhibition in Moscow in 1959. Among the large-scale immersive installations presented at the “Future World” will be Dag Aitken’s “Garden”, WIN>
At the opening of the “Future World” in the framework of the Garage Live program, a site-specific performance by Norwegian artist Turi Vrones will be held. In addition, the emphasis on performative works within the exposition (Hayden Fowler, Mella Yarsma) is intended to inform the viewer of a more felt sense of the world, the links between human and natural.
The exhibition is organized by Snezhana Krasteva and Ekaterina Lazareva, curators of the Garage Museum
The installation of John Acomfry “Purple” was commissioned by the Barbican Gallery (London) in conjunction with the Museum of Paintings (Umeå, Sweden), the TBA21 Academy (Vienna), the Institute of Contemporary Art (Boston), the Berardo Collection Museum (Lisbon) and the Garage Museum of Contemporary Art.
The exhibition “The coming world: ecology as a new policy. 2030–2100 ”is organized with the support of the Embassy of Australia, the Embassy of the Kingdom of Denmark, the Embassy of the Kingdom of the Netherlands, the Embassy of the Kingdom of Norway and the French Institute at the French Embassy in Russia.
The Garage Museum of Contemporary Art thanks HTC Vive for helping to organize Hayden Fowler’s performance Again Together.