exhibition catalogue - metamorphoses

metamorphoses:
intermingling
of human
and
nonhuman
bodies
Astrid Linnéa Andersson, Sonia Bensouda, Ninna Berger,
Hanna Bergman, Thibault Brevet, Mathilda Frykberg,
Sanna Lindholm, Chang Liu, Laurance Liu, Rebecca Merrill,
Sara Möller, Jessica Rayner, Natasha Rosling, Secret
Pyramid/Amir Abbey, Barbara Amalie Skovmand Thomsen,
Eiko Soga, Matilda Söderberg, Louise Waite and Alois Yang
A digital exhibition curated by Vilma Luostarinen
metamorphoses-exhibition.com
A
Introduction
B
A
Ninna Berger
Jessica Rayner
Alois Yang
C
Laurance Liu
Sanna Lindholm
Eiko Soga
B
D
F
D
Barbara Amalie
Skovmand Thomsen
E
E
Mathilda Frykberg
Sara Möller
C
F
Matilda Söderberg
Natasha Rosling
G
G
Louise Waite
.
Metamorphoses: Any shape that is formed is
constantly shifting. Text by Vilma Luostarinen.
A
Introduction
Metamorphoses is a digital exhibition exploring
relationships between human and non-human bodies.
Balancing on the boundary between physical and virtual
space, it opens up diverse landscapes of works all
bearing traces of transformations. Assembled together,
they form a poetic reflection on what the concept of
metamorphosis can signify in the 21st century. The
project examines and re-imagines how we as human
beings relate to matter, both inside and outside our
bodies, as well as the potential of metamorphosis to
reveal new perspectives, seeing the Earth as a vibrant
topography of ever-changing shapes.
The digital format of the exhibition has allowed for
creative curation and experimentation with how
contemporary art and design, physical as well as borndigital, can be experienced online. Metamorphoses has
been developed in dialogue with a group of international
artists and designers, incorporating workshops and
installations in London, Gothenburg, Copenhagen,
Brighton and Bristol.
B
Ninna Berger
Or At Least all the Ones She Let the World See
2016. Video, 9 sec.
A body is broken into pieces. As splinters of the material scatter
across the space, a passage is created between interior and
exterior realms, between surface and depth. What was previously
hidden becomes visible through an interaction that shows both
force and fragility. The video, made specifically for the exhibition,
is an independent work but also a fragment of an imagined
installation where six sculptural bodies would be placed in an
enclosed room and shattered from above. As people would step
on the remains of the sculptures, the work would be in a constant
state of transformation.
Ninna Berger (b. 1980, Sweden) lives and works in Stockholm. She graduated from
MFA Textiles at Konstfack University of Arts and Crafts, Stockholm, in 2007. In the
same year she started the art-fashion project Restructional Clothing, a platform through
which she investigated methods of deconstruction and reconstruction by using
recycled clothes and materials. From 2015, Ninna’s practice has been focused on
independent art projects. She has exhibited in Berlin, Los Angeles, Czech Republic,
Copenhagen and Stockholm, and recently participated in AIR programmes at The
White Building, London and Circolo Scandinavio, Rome.
ninnaberger.com
B
Jessica Rayner
365 faces of the Sun
2014. HD video extract, 3.48 min.
The sun is both a source of life and a source of danger. It is
present in our daily lives, yet it is millions and millions of kilometres
away. We bathe in its light and enjoy the feeling of its warmth
against our skin, until it burns us as a bitter reminder of processes
invisible to the human eye, such as radiation and global warming.
In the video, which was originally projected into a spherical metal
sculpture, 365 pictures of the sun are compiled from various
sources, from amateur astronomers to NASA. As the sun shifts
appearance, we are invited to view it with fresh eyes. For the
context of this exhibition, the video has been combined with a
soundscape by Canadian artist Secret Pyramid/Amir Abbey,
suggesting an atmosphere of worlds distant from our own.
Jessica Rayner (b. 1985, England) is a London-based artist. She looks to science, history
and nature for her sources of inspiration, and works across a range of mediums such
as video, installation, sculpture, text and photography to explore processes of living
and non-living objects, materials and substances. She graduated from Royal College
of Art, London, in 2012 with an MA in Fine Art Printmaking. Previous exhibitions include
Christine Park Gallery, London, The Parkside Gallery, Birmingham, Tintype Gallery,
London and Independent Liverpool Biennial, Albert Dock. In 2014 she published the
book The Metabolic Landscape through Black Dog Publishers.
jessicarayner.com
B
Alois Yang
Panning Time & Space
2015. Single channel HD audiovisual installation, stereo audio, various lengths.
From the darkness of an unknown space in-between physical
and virtual realms, transient landscapes slowly emerge,
repeat, develop and disappear. Panning Time & Space reflects
anthropocentric transformations and human reproductions of
the aesthetics of nature. The video documents an audiovisual
installation, based on images and sounds collected during a
field trip to Iceland. The material was originally processed in real
time through a gesture sensor and bespoke software made by
the artist. By moving their hands, visitors are invited to actively
create and alter the surrounding environment. In the interplay
between human body, technology and fragments of a distant
nature, new spatio-temporal realities take form.
Alois Yang (b. 1986, France) is a French-Taiwanese artist, designer and electronic
musician based in London and Berlin. Drawing inspiration from science and nature, he
investigates interactions between people, sound, time and space through audiovisual
installations and performances. Alois received his MA in Design Interaction from The
Royal College of Art, London. His work has been shown at Stour Space, London, MEM
Festival Bilbao, National Museum Stockholm, and Fjuk Art and Design Centre, Iceland.
aloisyang.com
C
Laurance Liu
Plastic Archaeology
2014–2015. Speculative project. Series of eight plastic-minerals: PCB stone,
poly-pyrophylite, distress polycarbonate, polysedimentary, plastic-bead rock, conductive polymer, partition styrofoam and hololava.
The material explorations of Plastic Archaeology form a reflective
commentary on today’s plastic consumption culture. The term
‘plastiglomerate’ describes a new form of stone, a hardened, multicomposite material that is a telling marker of the anthropocene. For
future archaeologists, our time will perhaps be named the ’Plastic
Age’, in the same way as people in the 1960s entered the ‘Space
Age’. In the past few decades, humans’ relationship with plastic
has changed radically, as we have become increasingly familiar
with it; yet it is a common misconception that plastic is a cheap
material. Presented as precious stones, the poly-rock samples
on display are tangible manifestations of human impact on the
environment, proposing an alternative view of plastic matter.
Laurance Liu (b. 1988, Taiwan) is an artist and industrial designer based in London.
In his projects he frequently uses environmental and social research as a point of
departure to bring a fresh approach to human interaction with materiality and the
external world. He received his MA in Industrial Design from Central Saint Martins
College of Art and Design in 2015.
laurance-liu.com
C
Sanna Lindholm
Oncetherewasanocean
2015-2016. Series of objects and materials. Plaster, plastic, pumice stone, wood,
silicone, rubber, fake stone clay, foam rubber, latex, stoneware.
In an imagined future scenario, the ocean no longer exists and
can only be revisited through distant memories. Conceived as a
mythological phenomenon, various stories are told of the ocean:
‘It could adopt all colours and shapes. It connected countries and
continents, and was similar to the sky, but located on the ground.
The ocean was life or abyss, so deep one must go very far into it
to get your head under the surface.’ In Oncetherewasanocean,
artificial and natural materials replicate one another and morph
into new amalgamations, subtle reminders of processes where
human produce and natural forces intertwine. The Metamorphoses
exploration in Brighton, January 2016, in which sea plastics were
investigated, influenced Sanna’s process and choice of materials
to create this series of objects that form traces of a lost ocean.
Sanna Lindholm (b. 1987, Sweden) is a designer and artist currently based in Stockholm.
In her work she explores how our understanding of everyday materials and objects
can be altered. By manipulating their function, the relationship between human body
and familiar items change. Sanna has studied BA Jewellery Art and Design at HDK
School of Design and Crafts, Gothenburg, and at Gerrit Rietveld Academie, Amsterdam.
Her work has been shown at Galleri Blunk, Trondheim, Konstepidemin, Gothenburg,
Röhsska museet, Gothenburg and Objectfair, Rotterdam.
lindholmsanna.com
C
Eiko Soga
Microbes As Secret Agents Of (
)
2016. Video poetry, 1:51 min.
What if microbes in water were secret agents, playing tricks to
form friendships and a sense of empathy among people? What if
microbes were flying like honeybees, pollinating intangible energy
to create an invisible sculpture? The video is a poetic fragment of
an ongoing work investigating humans’ relationship with water, as
well as each other, from both a poetic and scientific perspective.
The ideas started to take shape during the Metamorphoses
exploration in Brighton, January 2016: a shared experience of
observing, feeling, touching, smelling and listening to the sea
and objects related to water. In an imagined future installation,
sea water would be the base material of a constantly transforming
sculpture, floating freely in a zero gravity space.
Eiko Soga (b. in Japan) is an artist based in the UK and Japan. She explores the
invisible elements that shape both human minds and social environments, which she
renders in writing, sound, sculpture and site specific installation. She received an MFA
in Sculpture from The Slade School of Fine Art, UCL, in 2015 and has participated in
shows and projects at Yellow Mould Deal, London, KENPOKU Art Hack Day, Japan,
Freud Museum, London, Equality, Gender & Society, UCL, London and The UCL
Mullard Space Laboratory, Dorking.
eikosoga.com
D
Barbara Amalie Skovmand Thomsen
It’s always darkest before dawn and
brightest before twilight
2012. Two channel HD video, 15.26 min.
Deserted and animated at the same time, the two landscapes are
human-made, but without our presence. Balancing on the border
between the familiar and foreign, the scenery suggests a sense of
the uncanny. The work is an attempt to create a dialogue between
the human and natural environment, reflecting the artist’s interest
in the relationship between human and nonhuman materials and
beings. After participating in the Metamorphoses exploration in
Copenhagen in December 2015, Barbara developed an idea for
a future work – a third video of the It’s always darkest… series,
using wax as a base material.
Barbara Amalie Skovmand Thomsen (b. 1980, Denmark) lives and works in Copenhagen.
She works across multiple disciplines such as video, installation, performance,
photography and poetry, to explore concepts of energy and sensory interactions
between the human body and non-human objects and substances. She received her
MFA from Sandberg Institute in Amsterdam, and has previously exhibited her work
at Third Space in Copenhagen and at de Appel, de Service Garage, &Foam, W139
and FATFORM in Amsterdam.
barbaraskovmand.com
E
Mathilda Frykberg
Ceremonial Choreography/Landscape Theologist
2016. Video, 4.09 min.
Zine 9.3x6.5 cm, 16 pages.
The best thing humankind could do is to ask ourselves: what is
my nature? In the deep forests of Värmland, Sweden, a girl is
sitting down at a table. She slowly turns her head from side to
side. This is a ceremonial act: simple rules made up for the body
to be able to recognise itself in the world. It could be a story
dedicated to the meeting between nature and human being, soil
and body. It could be a manifestation of how we all are nature,
eat nature, and live by nature. The video and miniature zine are
both inspired by the Metamorphoses exploration in Gothenburg
in November 2015: an edible journey through the life cycle of
plants, in which Mathilda participated.
Mathilda Frykberg (b. 1987, Sweden) lives and works in Gothenburg. She employs
intuitive methods to investigate how artistic practices, mainly in the form of text, food,
video, performance and zines, can act as a bridge between culture and nature.
Her work often investigates the function of religion today, and how ceremonies can
become a tool for reimagining the relationship between human being and the natural
environment. Mathilda is also an editor for independent publisher ANTAL Redaktion.
mathildafrykberg.wordpress.com
E
Sara Möller
Ad Libitum
2015. Assemblages. Mixed media including clay, glaze,
ink and various found objects.
In the interplay between inner and outer landscapes, a group
of hybrid bodies emerge. They balance on a thin line between
the naive and mysterious, with nature as a common ground.
The sculptures and drawings of Ad Libitum are inhabitants of
in-between spaces where the primitive in being human, and how
we are connected with nature, is articulated. Sara participated
as a visitor in the Metamorphoses exploration in Gothenburg, in
November 2015. From this experience, subtle feelings of being
a ‘human animal’ in the forest, eating from the ground like a bird,
or being a newborn that does not yet know what the world looks
or tastes like, emerged. The sculptures correspond to these
feelings, and the drawings are made in direct response to her
experience.
Sara Möller (b. 1982, Sweden) is a Gothenburg-based artist. Mixing sculpture, drawing,
painting and assemblage, she constructs worlds that fuse reality and imagination, wild
nature and constructed environment, abstract and figurative forms. Sara received her
MFA in Ceramic Art from HDK School of Design and Crafts, Gothenburg. Her work
has been exhibited at Hrdaland Kunstsenter/Archipelago Art Gallery, Bergen, Gallery
Thomassen, Gothenburg, Färgfabriken, Stockholm and SIM House, Reykjavik. In 2012
she was an artist in residence at The White Building, London.
saramoller.com
F
Matilda Söderberg
Artificial Aftermath
2016. Series of scanned objects and materials. Video, 2.30 min,
with Sophia Preidel (dance) and Hilda Holmdahl (photography).
How does bodily metamorphosis play out in a late-capitalist
society, where financial interests have transformed the body
into a profitable resource? Artificial Aftermath investigates gaps
between real and idealised bodies. The work’s main material
resources consist of human skin and substances that have been
introduced through the extraction of petroleum, materials which
the Earth is unable to digest, such as polyester, plastic and latex.
In Matilda’s video, which has been produced in collaboration with
dancer Sophia Preidel and photographer Hilda Holmdahl, bodily
movements and artificial remains are explored and composed
into an abstract assemblage.
Matilda Söderberg (b. 1990, Sweden) is based in London. In her practice she uses
fashion as a medium to critically investigate the relationship between the human body,
capitalism and power structures. By using diverse theories, design methods and
materials, her works often attempt to shed light on invisible processes concealed by
the market. Matilda is currently studying BA Fashion Design at Central Saint Martins
College of Art and Design.
matildasoderberg.com
F
Natasha Rosling
The Visceral Architect
2016. Series of objects, interviews, animations and drawings.
The Visceral Architect stems from explorations of the Redcliffe
Caves in Bristol, mines that were originally used to excavate
sandstone for the glass industries. Parallels are drawn between
glass and human skin: in the same way as skin contains the body,
glass contains liquids and consumables. Both materials also
distinguish boundaries between interior and exterior. During a
visit to the caves in February 2016, an invited group were asked
to touch and manipulate a sandstone mixture. The participants
were later interviewed: How does your object understand its own
form? How old is it? How does it encounter people? ... Through
recounting their experiences of these objects within the caves,
an intriguing series of imaginary worlds emerged. The visual
fragments presented in the exhibition are distillations of an
ongoing process exploring transformations of materials relating to
Redcliffe Caves, and how they tie into invisible human networks
of mediation, manual labor and memory.
Natasha Rosling (b. 1985, England) is an artist based in Bristol. Her work investigates
boundaries between the interiors of the body and external environments. She uses
a wide range of media such as sound, text, performance and installations to explore
issues relating to embodiment and the entwinement of physical objects and materials,
with imagination and memory. Natasha has an MFA from Sandberg Institute in
Amsterdam. Her work has been shown at Bonniers Konsthall, Stockholm, Bristol
Biennial, Pinoteca Museum, Sao Paulo, Mori Art Museum, Tokyo, South Bank Centre,
London and Wellcome Collection, London. She is also a member of international art
and research collective OuUnPo.
natasharosling.com
G
Louise Waite
Sound Bureau
2016. Nine sound recordings placed in 8 drawers. Size 100x150x30 cm.
Over the last year, Louise Waite has participated in several of the
Metamorphoses explorations. Her contribution to the exhibition
is a curated library of sounds recorded during the collaborative
research process. It includes specific soundscapes made for
the installations, as well as fragments of conversations. The
intention behind making a piece of furniture was to give the
sounds a physical home, where people can listen to them one
by one, in their own order and pace. There is one recording in
each drawer, giving the furniture a murmuring sound when the
drawers are closed, and a clearer, individual sound when one
of them is opened.
Louise Waite (b. 1988, Sweden) is a Brighton-based artist and curator. She works
across performance, video, installation and curatorial production to create works that
often use everyday scenarios, actions, habits and specific cultural and social contexts
as points of departure. Louise Waite is currently studying BA Fine Art Critical Practice
at University of Brighton. Previously, she has worked as a producer for Swedish artistrun platform Skogen, performance company Poste Restante and MAP - Mobile Art
Production, as well as with Paletten Art Journal and Gothenburg International Biennial
for Contemporary Art.
louisewaite.se
Metamorphoses
Any shape that is formed is constantly shifting
The caterpillar’s transformation into a butterfly, Ovid’s
classical myths and Franz Kafka’s novel about a man’s
alteration into a state of estrangement – metamorphosis
is a well-known phenomenon in nature as well as in
mythology, art and literature. But what does it mean
today and what makes it relevant to the 21st century?
Environmental journalist Gaia Vince writes that in just
one generation, humans have turned into a global force,
altering the Earth ‘beyond anything it has experienced in
its 4.5 billion-year history’.1 From relentless exploitation
and industrial processes where natural resources are
transformed into commodities, to oceans of plastic
waste, extreme weather and collapsing ecosystems;
it appears as if the whole planet, including the human
species, is in a state of unprecedented transformation.
Metamorphoses have turned from distant myth to
present reality, with as yet unforeseen consequences.
In his book Return to Nature? An Ecological Counterhistory, political theorist Fred Dallmayr suggests that
the current sense of crisis has its roots in the ‘onset
of Western modernity and its attendant separation of
‘man’ and nature’.2 At the forefront of this development
was the 17th century philosopher René Descartes.
In his thinking, the material world is inferior to the
human mind, and matter seen as ‘devoid of interiority
or ontological depth [...] it is inert stuff emptied of
all immanent vitality’.3 From a Cartesian dualism
perspective, nature, matter, animality, death, even our
own flesh and senses, are seen as something ‘other’
different from ‘us’. Author and social activist Naomi Klein
in a recent lecture on climate change said that ‘once
the other has been firmly established, the ground is
softened for any transgression: violent expulsion, land
theft, occupation, invasion. Because the whole point of
othering is that the other doesn’t have the same rights
[...] as those making the distinction.’4
It is urgent to develop a new sensibility for the material
world and to rethink our position within nature towards
what political theorist Jane Bennett explains as ‘a more
horizontal representation of the relation between human
and nonhuman actants’.5 In this view, the hierarchy
between the dualisms has shifted – matter is no longer
conceived as merely a resource for humans to consume
and endow with meaning, but recognised as active
and agential.
Imagined as a self-transformative force innate to all
materials and beings, could metamorphosis act as a
conceptual point of departure for such new mindsets to
take form? Ovid in his Metamorphoses touches on this
vital agency: ‘My vessel is launched on the boundless
main and my sails are spread to the wind! In the whole of
the world there is nothing that stays unchanged. All is in
flux. Any shape that is formed is constantly shifting.’6 By
its very nature, metamorphosis rejects dualist structures
and opens up an alternative possibility of seeing the
world as a vibrant and heterogeneous landscape of
ever-changing shapes.
The creation and experience of art are doubtlessly
processes of transformation. But what is the relationship
between human and nonhuman bodies in creative
practices, where materials inevitably become mediums
for artists’ thoughts and actions? Theorists Estelle
Barrett and Barbara Bolt in Carnal Knowledge: Towards
a ‘New Materialism’ Through the Arts propose that the
artistic process may even be understood as amplifying
the mind-matter bifurcation, since ‘matter is the ‘dumb’
‘mute’ ‘irrational’ stuff on which humans act’.7 However,
they further argue that art can likewise be seen as a form
of ‘co-collaboration’ between human and nonhuman
actors, where ‘matter as much as the human has
responsibility for the emergence of art.8
It is against the background of these thoughts and ideas
that this project has unfolded. The digital exhibition
has grown out of a year-long process of material and
sensory experimentation, where metamorphosis has
been investigated both as a concept related to present
ecological transformations, and as a curatorial and
artistic method. With a poetic approach, the ambition
of the project has been to explore and reimagine how
we as human beings conceive and relate to the material
world, outside and inside of our bodies. How can we
learn (or rather unlearn) how to listen and develop a
heightened awareness for the vital agency of matter?
Bennett suggests that we should start treating
nonhumans, such as animals, plants, artefacts and
commodities, more carefully and with a greater attention
and fascination, ‘as clues to the material vitality [we]
share with them.’9 To explore these strange connections
and allow for a dialogue to take form between ‘us’
and ‘other’ bodies, we need to start from within and
return to the most basic language we know; that of our
own bodies. Through sensorial and intuitive forms of
interaction, that are perhaps closer to childhood, we
can discover feelings, vibrations, and experiences for
which we have no words. There is nothing magical or
extraordinary about this ‘language’, but it is hidden
in spaces in-between interior and exterior, mind and
matter, human and nonhuman body.
Between October 2015-February 2016, a series of five
workshops and installations were developed together
with a group of international artists and designers.
The investigations took place in London (Wellcome
Collection), Gothenburg (House of Words/GIBCA),
Copenhagen (The Reading School), Brighton (Onca
Centre for Arts and Ecology) and Bristol (Redcliffe
Caves). Without a clear idea of where the journey would
end, the collaborative process moved the project, not
necessarily forward, but in multiple directions.
Not only is it about metamorphosis, but the project itself
has been in a constant state of transformation. This
approach resulted in a complex network of materials,
things, people, ideas, spaces and situations, which later
gave birth to the idea of curating a digital assemblage
where both previous collaborators and further artists
and designers were invited to participate with new or
existing works.
The visitor of the exhibition descends to an unknown
space, which appears to be both virtual and physical
at the same time, and travels through a succession
of rooms inhabited by diverse metamorphic beings.
The sequence draws inspiration from the preceding
explorations. Although there isn’t an underlying logic,
traces and developments of the research process
are in various ways shared between the works, albeit
interwoven into new, fragmentary narratives.
As the participating artists knew that the exhibition
would take place online, many of the artworks are borndigital. Some are directly linked with the explorations,
such as Vessel, a recomposition of the installation at
the Wellcome Collection, and Louise Waite’s Sound
Bureau, an archive of sounds recorded during the year.
In this second phase of the project, the diversity in the
individual artists’ ideas has been prioritised over the
conceptual framework. Yet all the artworks bear traces
of transformative processes. Assembled together, they
form an implicit and poetic commentary on how we as
humans relate to nonhuman beings, objects, materials
and substances. The exhibition shouldn’t be regarded
as a final outcome, but a glimpse into an unfinished
investigation of how metamorphosis, as a conceptual
tool and subject for artistic practices, can allow us
to rethink and experience the material world in less
hierarchical and more sensible ways.
Vilma Luostarinen, Curator
June 2016
In other cases the initial collaborations formed starting
points for individual artistic processes to develop:
Natasha Rosling’s The Visceral Architect explores
boundaries between the human body and internal
spaces of Redcliffe Caves, Mathilda Frykberg’s
Ceremonial Choreography draws inspiration from
the exploration in Gothenburg where connections
between human and plant bodies were investigated,
and Eiko Soga’s Microbes As Secret Agents Of (
)
is influenced by the meeting in Brighton, looking at the
human perception of the sea.
Artists who were invited to join the project at a later
stage have either created situation-specific works, for
example Ninna Berger’s Or At Least All the Ones She
Let the World See, or contributed with existing ones
that in different ways relate to the wider ideas of the
project, such as Laurance Liu’s Plastic Archaeology, a
series of poly-rock samples forming tangible traces of
transmutations of natural rocks and artificial materials.
Vilma Luostarinen (b. 1989, Sweden) is based in London and Stockholm. Her work spans
research, curation, writing, direction of creative processes and sensory experiences.
As an independent curator, she collaborates with multiple disciplines to create poetic
and critical projects, that lie somewhere in-between theory and making. Metamorphoses
started out as her degree project at MA Narrative Environments at Central Saint Martins
College of Art and Design, from which she graduated in 2016.
vilmaluostarinen.co.uk
Artists: Ninna Berger, Mathilda Frykberg, Sanna Lindholm,
Laurance Liu, Sara Möller, Jessica Rayner, Natasha Rosling,
Barbara Amalie Skovmand Thomsen, Eiko Soga, Matilda
Söderberg, Louise Waite and Alois Yang
Design website: Hanna Bergman
Programming website: Thibault Brevet
Illustration: Astrid Linnéa Andersson
3d Spaces: Rebecca Merrill
Background sound: Secret Pyramid/Amir Abbey
Video fragments and spatial design: Sonia Bensouda
Animation: Chang Liu
Text: Vilma Luostarinen
Notes
Vince, Gaia., Adventures in the anthropocene: a journey to the heart
of the planet we made, 2014, p. 4.
1
Dallmayr, Fred R., Return to nature?: an ecological counterhistory,
University Press of Kentucky, Lexington, 2011, p. 1.
2
Coole, Diana H. & Frost, Samantha (red.), New materialisms: ontology,
agency, and politics, Duke University Press, Durham, N.C., 2010, p. 94.
3
Klein, Naomi. Let Them Drown - The Violence of Othering in a Warming
World, Edward W Said London Lecture 4th May 2016.
4
Bennett, Jane, Vibrant matter: a political ecology of things, Duke
University Press, Durham, NC, 2010.
5
A project by Vilma Luostarinen
6
Contact: [email protected]
7
Thanks to Tom Butler, Alison Taylor, Shan Yin Hsieh,
Rasmus Persson and The Crypt Gallery.
The exhibition is supported by OnSpotStory.
Ovidius Naso, Publius & Raeburn, D. A., Metamorphoses: a new
verse translation, Penguin, London, 2014, p. 602.
Barrett, Estelle & Bolt, Barbara (red.), Carnal knowledge: towards
a ‘new materialism’ through the arts, I.B. Tauris, London, 2013, p. 5.
Ibid, p. 6.
8
9
Bennett, 2010, p. 17.