Пространственные и сетчатые конструкции, Вернадский, Шухов, Ладовский, Крутиков, Мельников, Савельев, Мухин, Шевнин, Shevnin, геномная архитектура

понедельник, 7 июля 2008 г.


E-art: Environmental (or Activist) Art.
About this category: Environment & Urbanization
Translations available in: English (original) | French | Spanish | Italian | German | Portuguese | Swedish | Russian | Dutch | Arabic

Art and I don't always get along. It's hard to find art that really resonates with me, art I can engage with. Most art, notably modern art, is too pedantic and redundant for me. Lately, though, I have stumbled upon an almost invisible yet staunch genre (activist art, or environmental art, if you prefer) that is making me reconsider art's role in society. The discovery of new artists who- consciously or unconsciously- belong to this group is always casual but unfailingly comforting and stimulating. When I first fell in love with Ilkka Haslo’s work it felt like an isolated incidence, but one that quickly made me realize that "e-art"’s future was only just beginning. This feeling was confirmed when I found out about Tim Noble and Sue Webster, and now, well, now I consider myself lucky to have discovered two more artists in less than one summer.

In Paris, I had the chance to see some of the best environmental works from all over the world. The exhibit was called "Les Environnmentales: - 5th Biennale of Contemporary Art "In" and "With" Nature" and it was held at the TECOMAH Campus, Paris' college of environmental studies.

Today, instead, I found out about an exhibit that just ended here in Italy, and that was a collection of Jorg & Lucy Orta's best work over the past five years. Jorg and Lucy are two artists from Argentina and the UK who now live in Paris. Their latest collection revolves around the Antarctic, which is also the name of their exhibit at the Hangar Bicocca in Milan.

Most of the artwork was literally transported from the South Pole to Italy. The exhibit was a multi-layered one, presenting real-life survival equipments (from mobile intervention units and parachutes to medical kits) meant to make us reflect on the vastness of geography and on the symbolism and semantics of global warming. The artists see Antarctica as the last frontier land, a nobody’s land , a clear link between our past and our future. Antarctica, as they rightly point out, is the land where Potential and Threat meet. Clearly, allegory is what accompanies all of their work, as the Antarctic Village (2007), a collection of mutli-colored and multi-national tents, represents the best. The Ortas move from the poetic to the pragmatic with great ease, using materials that present slightly dystopic visions of the future of humankind. Their visual interpretation of global warming follows the theme of their work of the past five years, one that studied the many ways mobility, social relations and sustainability intersect with each other.

For more Orta goodness: http://www.studio-orta.com/

Another casual discovery, found when googling the Ortas, lead me to this blog: We Make Money Not Art. You can ignore all the Chevy ads and skip directly to their Green archive, definitely worth reading. Its pages take us from "Biopiracy: the new Colonialism", to Antarctica with the Ortas again, to the art of Greenwashing, to London, Budapest and more! Add to that links and resources and the you will quickly fall in love with this blog!


Other links:

Ilkka Haslo (in particular, I recommed his Restoration and Museum of Nature series)

and Tim Noble & Sue Webster

[Photo credits: Antarctica, Dome Dwelling. c: the artists.]

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