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“Undamming Rivers,” a retrospective of food and environmental crisis-focused artist duo Cooking Sections, opens in Stockholm. The exhibition presents three iterations of the artists’ ongoing research on the impact of fisheries (image: Salmon: A Red Herring, 2020), as well as a new project exploring the removal of hydro dams. The curators note that both topics are poignant in Sweden, where widespread “salmon-breeding programs were established to compensate for habitat loss and migration obstacles.”
Korean artist duo Moon Kyungwon and Jeon Joonho’s solo exhibition “Seoul Weather Station” opens at Art Sonje Center in Seoul, presenting two new works that tackle the planet’s collapsing ecosphere. The large-scale immersive installation To Build a Fire (2022) shows anthropocentric shifts from a nonhuman perspective—a four-legged robot—while Mobile Agora (2022) offers a participatory platform for critical climate conversations as part of the artist-run World Weather Network (WWN).
“Future Bodies,” a group exhibition examining corporeality and femininity in the digital age, opens in Amsterdam. Curator Anne de Jong brings together eight artists including Salomé Chatriot, Auriea Harvey (image: Pelops I, 2022), Lynn Hershman Leeson, Cassie McQuater, and Addie Wagenknecht, presenting positions from different generations. “New media has proven to be a feminist tool for artists to push the boundaries of identity, body, and space,” writes de Jong.
“Letters, Lights, Travels on the Street (Bokura ga tabi ni deru riyuu)” opens in NYC. A collaboration by New Art Dealers Alliance (aka NADA) and NowHere, the Jeffrey Ian Rosen-curated show presents “a dynamic cross-section” of Japanese (fine) artists including Ken Kagami, Motoyuki Daifu, and Maki Katayama. Of note: included is “psychedelic, boundary-exploring” (electronics-infused) film by the late Minoru Yoshida (image: Epicurism of Space Universe on the Rock, 1975).
French interdisciplinary designer and researcher Coralie Gourguechon revisits her Wall Radio (2013) installation for Art-o-rama Marseille. Made from a single copper wire configured into a coil with nails, the rudimentary circuit acts as a powerless radio receiver that picks up AM frequencies visitors can tune into via a crystal earpiece. Gourguechon’s installation is modelled after makeshift foxhole radios that U.S. soldiers improvised during World War II.
“Waiting for climate activist to glue themselves to contemporary master pieces,” quips German media artist Aram Bartholl, after protestors—again—targeted old masters. To demonstrate, Bartholl ‘glued’ activists to one of Simon Denny and Karamia Müller’s Creation Stories (2022), currently on view at Gus Fisher Gallery. Want to see your favourite media art piece feature in a climate protest? Use the template Bartholl made available here.
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