Focusing on stewardship, eco-aesthetics, and inter-species communication, “gREen” opens at Munich’s Muffatwerk. Curated by Jens Hauser and featuring Adam Brown, Thomas Feuerstein, and Agnes Meyer-Brandis, the show is presented as a garden, foregrounding climate politics in the art-science space. Meyer-Brandis’ ONE TREE ID (2021, image) allows visitors to don a perfume synthesized from a tree’s unique Volatile Organic Compound signature and, once scented, engage in biochemical conversation with plants.
For the New York Times, James Gorman profiles a geneticist team led by Christopher B. Kaelin and their recent findings in cat coat pattern formation. An instance of reaction diffusion (formulated in Alan Turing’s 1952 paper “The Chemical Basis of Morphogenesis”), embryonic analysis of 200 kitten litters identified Dkk4, the gene that acts as an inhibitor to create “spots, stripes, and everything in between,” and how tissues lay the groundwork for those patterns—before hair or hair follicles appear.
Alex Schweder’s “The Sound and the Future” opens at Clifford Gallery in Hamilton, New York. Its name borrowed from its lone work, the exhibition offers a fun glimpse into Schweder’s world of “performnace architecture”—dynamic architectural and sculptural forms. Here, a made-to-order very Detroit installation, first shown at Wasserman Projects (2016, image) sways again; a homage to Motor City’s dance music genre, silvery nylon inflatables undulate, animated by blown air, to a slowed down techno soundtrack.
A phoenix rising from literal ashes, the 34th Bienal de São Paulo kicks off. As described in an e-flux announcement, its curators were inspired in resilience beyond COVID-19: a 2018 fire that burnt Museu Nacional in Rio de Janeiro to the ground. Drawing on an artifact pulled from the museum’s ruins completely intact, the 2 metric ton Santa Luzia iron meteorite has become a de facto biennale mascot, and it sits prominently at the entrace to the flagship exhibition “Though it’s dark, still I sing.”
Canadian software artist Sarah Friend hatches her latest blockchain-based social experiment called Lifeforms, a series of NFT-based entities that, “like any living thing, need regular care in order to thrive.” If not given away within 90 days of receiving it, a lifeforms will die and no longer appear in wallets. The first batch is currently in foster care at Kunstverein Hamburg as part of the “Proof of Stake” group exhibition. “After this, these lifeforms will continue their perilous journey through many hands.”