“Ruṇwe glôbl wōmñ, invîrnmentl dstruẋn n mas spīšīz xtnẋn r ol consiqnsz v âr frwt rlešnšp wɖ nêčr. Ŕʈ hz bn sīn az an infinit ṣplî v načṛl rzwsz t b frīli xplýtd fr profit. Clîṃtčenj cōzd bî hymn bhevyr hz plêst ol lîf on ɖ planit at risc – includñ âr ôn.

Ɖ ātists in ɖs xibišn rflct on âr cuṛnt invîrnmentl crîsis – ic̣nomic, ṗlitcl n culčṛl, az wel az ic̣lojcl. Ɖ rîts v nêčr t fluriš fri fṛm hymn dstruẋn r incrisñli recgnîzd in ny invîrnmentl lwz. Ḅlivia n Eqdor hv rīsntli inšrînd ɖ rîts v Muɖr Ŕʈ in ɖer līgl sistmz.

Nwʈ n Sâʈ America, in ptklr, r saits v intns actiṿti, lncñ ic̣lojcli-cnsrnd ātists, ṗlitcl activists n indijṇs ppl t ny līgl iniṣ̌tvz. Rīsnt fiḷsoficl dveḷpmnts r olso rīʈncñ ɖ rlešnšp btwn hymn n nonhymn lîf. Rîts v Nêčr z a jrni acrs ɖ Americ̣s, ʈru ɖ wrc v twenti ātists, acrs ol for v Notñm Cntemprri’z gaḷriz. Ɖ Aṃzn, ɖ Andīz, ɖ Ātc n ɖ Gulf v Mexico r amñ ɖ ic̣lojcl rījnz xplord.

Ɖ ljr historicl bacdrop t ɖ xibišn includz ɖ Yṛpiyn conqest v indijṇs ppl in bʈ Nwʈ n Sâʈ America n ɖ nir xtrminešn v ɖer culčrz n habitats. Latin Americn histri, in ptklr, hz bn šêpt bî senčriz v foṛn plundr v its načṛl rzwsz, bginñ in ɖ 16^ʈ senčri wɖ ɖ Spaniš empîr’z lust fr silvr n gold. Mr rīsntli, ɖ mn beṇfišriz hv bn multīnašnl cwṗrešnz, mni v hūm olso profitd undr ɖ rījn’z brūtl YS-bact militri dictetršps v ɖ 1960z–1980z.

Rîts v Nêčr xpozz hâ ɖs Yṛpiyn îdīa v hymn mastri v ɖ planit wz impozd on ɖ Americ̣z. In contrast, ny fwmz v rzistns r inspîrd bî, n lnct t, indijṇs culčrz ɖt si ɖmslvz az pāt v an ic̣lojcl cntinym. Ɖ xibišn rvilz hâ cntemprri āt z cntribytñ t ɖ glôbl projct v rīʈncñ âr rlešnšp t uɖr livñ ʈñz.

Ɖ xibišn includz Sŭbancar Baṇji’z epic fôṭgrafs v mîgrêṭri caribu in nwɖn Alasca, Fernando Palma Rodrīgez’z aniṃtronic Moṇc buṭflîz, rstorñ lîf t a ʈretnd spīšīz, Abel Rodrīgez’z xqizit drōñz v plants, rcwdñ indijṇs invîrnmentl nolij pást dân ʈru jeṇrešnz, n Pâlu Naẓret’s delic̣t insṭlešnz v mtirı̣lz c̣lctd jrñ hiz jrni, on ft, btwn Belu Orizonči n Ny Ywc Siti.

Ātists: Allora & Calzadilla, Eduardo Abaroa, Ala Plástica, Darren Almond, Marcos Avila Forero, Amy Balkin, Subhankar Banerjee, Mabe Bethônico, Ursula Biemann & Paulo Tavares, Center for Land Use Interpretation, Minerva Cuevas, Jimmie Durham, Harun Farocki, GIAP: Grupo de Investigación en Arte y Política (wɖ Beatriz Aurora), Paulo Nazareth, The Otolith Group, Fernando Palma Rodríguez, Claire Pentecost, Abel Rodríguez, Miguel Angel Rojas, Walter Solón Romero.

Kretd bî TJ Demos n Alix Fāc̣sn, wɖ Îrīn Aristizābal.”

Fernando Palma Rodríguez, Techpactia tlen quipanoz ipan Milpa Alta? (Do you like what happens in Milpa Alta?), 2011 and Tocihuapapalutzin (Our revered lady butterfly), 2009. Courtesy the artist. Photo Andy Keate.

Minerva Cuevas, Bitter Sweet – Crunch, 2015. Courtesy the artist. Photo by Andy Keate.

Amy Balkin, Public Smog, 2004-2014, video. Courtesy of the Artist.

Beatriz Aurora, installation shot. Courtesy the artist. Photo Andy Keate.

The Center for Land Use Interpretation, Houston Petrochemical Corridor Landscan, 2008. Courtesy of The Center for Land Use Interpretation.

Minerva Cuevas, Serie Hidrocarburos, 2007. Courtesy of the artist and kurimanzutto, Mexico City.

Minerva Cuevas, Detail from Serie Hidrocarburos, 2007. Courtesy of the artist and kurimanzutto, Mexico City. Photo by Andy Keate.

Jimmie Durham, A Dead Deer, 1986. Courtesy collection M HKA.

HarunFarocki, The Silver and the Cross, 2010. Courtesy of the artist.

Marcos Avila Forero, A Tarapoto, Un Manati, 2011. Courtesy of the artist and Galerie Dohyang Lee, Paris.

Rights of Nature Installation shot. Photo Andy Keate.

Medium Earth The Otolith Group HD video, UK, 2013. Courtesy of The Otolith Group and LUX, London.

Miguel Angel Rojas, El Nuevo Dorado, 2012. Courtesy the artist.

GAḶRI WEBSAIT

ẆT ĐE SE

Māc Paṭsn, Đ NOTÑM PÔST, 11 Febrri 2015
Joṇʈn Jônz, Đ GĀDỊN, 23 Jaňri 2015

GAIA FÂNDÊŠN
ICA, 29 Jaňri 2015

23/07/2015