2025 Programming will be announced next January
Memory is a fundamental aspect of the human experience, shaping our individual and collective identities and informing our understanding of the world around us. As we enter an era of rapid technological change and increasing reliance on artificial intelligence (AI), it is important to consider the role that AI can play in shaping our memory and our sense of humanity.
Through installations, interactive experiences, and thought-provoking artworks, visitors will be challenged to consider the ways in which AI is changing our relationship to memory and shaping our understanding of what it means to be human. It is important to consider potential challenges and risks associated with AI and memory. Reliance on external memory systems could lead to decreased retention and reliance on inaccurate or biased information.
Additionally, concerns about data privacy, security, and the potential for manipulation of collective memory should be addressed as AI continues to evolve.From AI-generated artworks to immersive virtual reality experiences that challenge our sense of self, the works in this edition invite us to consider the opportunities and challenges presented by AI and memory.
What does it mean to remember in an age of digital memory? How can AI be used to enhance our memory and our understanding of the world? And what are the ethical and social implications of relying on AI as a tool for memory and identity?
DIVERSEartLA Museum Acquisition Award by AAL Museum and AAL Magazine, Chile
DIVERSEartLA 2024 is proud to announce the second edition of the Museum Acquisition Award for Emerging Artists in Los Angeles.
Inspired by Spain’s La Neomudéjar Museum last year, the initiative seeks to support the art scene by promoting the acquisition of art works by leading national and international museums.The winner of the award will be chosen by Ana Maria Matthei, Museum Director and Magazine Founder as well as Marisa Caichiolo, Curator of DIVERSEartLA.
The award will be presented by Matthei, Caichiolo and LA Art Show Producer-Director Kassandra Voyagis in a special ceremony at the fair.
DIVERSEartLA is curated by Marisa Caichiolo.
MAC – MUSEUM CONTEMPORARY ART – BOGOTÁ, COLOMBIA
Project: Mythstories
Artist: Carlos Castro Arias
Curator: Gustavo Adolfo Ortiz Serrano
Booth 1362
Myths are constructed to express realities beyond a logical understanding and help us to comprehend concepts that are difficult to explain with ordinary language. Carlos Castro’s work is located precisely where contemporary society faces a mirror but is afraid to open its eyes. Through the ancient medieval technique of tapestry and with the use of an iconography that links the ancient and the contemporary, he conceptually weaves a new understanding of our recent history with the biases of the hyper-communicated, transcultural, hybrid and eager for meaning society. In the midst of complexity, it is necessary to appeal to myth to approach our existence in a symbolic and binding way, a resource that enhances imagination and emotion to assimilate the succession of moments that will become history.
Each of Castro’s tapestries explore the relationship between myth and history; these woven tapestries illustrate contemporary myths by interlacing imagery from medieval tapestries and twenty-first-century news media. Castro’s work is also an invitation to create or recreate our own myths, those that allow us to transcend experience to redefine culture and the social meaning that is implicit in it.
Each of Castro’s tapestries explore the relationship between myth and history; these woven tapestries illustrate contemporary myths by interlacing imagery from medieval tapestries and twenty-first-century news media. Castro’s work is also an invitation to create or recreate our own myths, those that allow us to transcend experience to redefine culture and the social meaning that is implicit in it.
NEVADA MUSEUM OF ART – RENO, NEVADA
Project: The Journey
Artist: Guillermo Bert
Curator: Vivian Zavataro
Booth 605/706/1360
Project: The Journey
Artist: Guillermo Bert
Curator: Vivian Zavataro
Booth 605/706/1360
The Warriors are life-sized, laser-cut, wooden sculptures set in an environment that resembles a harsh desert
landscape. Inspired by the 2,200-year-old Chinese Terracotta Warriors – 8,000 life-sized soldier statues excavated in Shaanxi province in 1974, Bert’s vision was to honor the warriors of our time by creating an army of immigrant heroes. The relationship between the individual and the collective group is apparent in the installation. Seen individually, the modern-day warriors are strong and proud, but when viewed together – and multiplied in the surrounding mirrors – they become an overwhelming and forceful army.
All the individuals depicted represent real people with real names – David, Alex, Margarita, Nalleli, Eduardo, Sabrina, and others – who stood at the forefront during and after the COVID-19 pandemic. Bert encourages us to think about the invisibility of Latinx workers, including nurses, farmers, firefighters, and activists, who kept the American economy thriving when most of the world stayed home. A visual tribute to strength and dedication, The Warriors pay homage to these fighters, acknowledging their courage, resilience, and warrior spirit.
All the individuals depicted represent real people with real names – David, Alex, Margarita, Nalleli, Eduardo, Sabrina, and others – who stood at the forefront during and after the COVID-19 pandemic. Bert encourages us to think about the invisibility of Latinx workers, including nurses, farmers, firefighters, and activists, who kept the American economy thriving when most of the world stayed home. A visual tribute to strength and dedication, The Warriors pay homage to these fighters, acknowledging their courage, resilience, and warrior spirit.
MUSA MUSEUM OF ART UNIVERSITY OF GUADALAJARA, GRODMAN LEGACY and GUADALAJARA FOUNDATION – GUADALAJARA, MEXICO
Project: Fake memory of a True past
Curator: Moises Schiaffino
Booth 1364
This project seeks to create a reflection on the use of artificial intelligence (AI) as a tool to
generate a historical archive. Currently, what we know about history is thanks to the vestiges and
testimonies that humans themselves have left and recorded. Our conception of yesterday
depends on that legacy, but what would happen if in the future the account of what happened
was in the hands of a virtual entity? Would the vision of the past be the same?
With this project, we will delve into the history of the University of Guadalajara and pay tribute to Raúl Padilla López, the most important cultural promoter and visionary that this institution has had and who promoted the creation of the MUSA Museum of Arts in 1994. This video installation tells the same story from two different visions: the human and the artificial, making a visual comparison of the memory that the human being has preserved with the one that, through algorithms, the AI has generated. Thus, the substantiated testimony and the speculative recreation will be confronted before the eyes of those who observe it, leaving the door open for reflection about the importance of writing our history by ourselves, so the truth about it could be as faithful as possible of what happened in reality.
With this project, we will delve into the history of the University of Guadalajara and pay tribute to Raúl Padilla López, the most important cultural promoter and visionary that this institution has had and who promoted the creation of the MUSA Museum of Arts in 1994. This video installation tells the same story from two different visions: the human and the artificial, making a visual comparison of the memory that the human being has preserved with the one that, through algorithms, the AI has generated. Thus, the substantiated testimony and the speculative recreation will be confronted before the eyes of those who observe it, leaving the door open for reflection about the importance of writing our history by ourselves, so the truth about it could be as faithful as possible of what happened in reality.
MOAH LANCASTER MUSEUM OF ART AND HISTORY – LANCASTER
Project: Repairing the Future
Artist: Osceola Refetoff
Curator: Andi Campognone
Booth 1366
Project: Repairing the Future
Artist: Osceola Refetoff
Curator: Andi Campognone
Booth 1366
Lancaster Museum of Art and History (MOAH) is proud to present Osceola Refetoff: Repairing the
Future, a multi-media exhibition focusing on global sea level rise. The centerpiece of the installation is
a large-scale immersive audio-visual projection of the artist’s 8-minute film, Sea of Change.
The film’s original footage was shot by Refetoff in Svalbard, Norway, near the North Pole during his The Arctic Circle Artist & Scientist Residency. These visuals are paired with NASA satellite images of the Earth and graphics depicting NASA’s scientific measurements of current climate disruptions. AI-generated animation envisions possible future climate outcomes.
The project was edited with Juri Koll during Refetoff’s 2023 artist residency at Building Bridges Art Exchange in collaboration with Dr. Eric Larour, manager of NASA’s Earth Sciences Division at the Jet Propulsion Laboratory. The original soundtrack is written and performed by award-winning composer Paul Cantelon and Sultan + Shepard.
Blending hard science, documentary video, and impressionistic imaginaries, Refetoff is known for using aesthetic strategies to define and communicate an urgent need for both personal and systemic engagement, leveraging the natural beauty of remote regions to command our global attention toward local climate issues.
The exhibition will be accompanied by a performance from Hibiscus TV artists Kaye Freeman and Amy Kaps, and will also include a talk with Refetoff, curator Andi Campognone, and Rosanna Xia, L.A. Times climate journalist and author of California Against the Sea.
The film’s original footage was shot by Refetoff in Svalbard, Norway, near the North Pole during his The Arctic Circle Artist & Scientist Residency. These visuals are paired with NASA satellite images of the Earth and graphics depicting NASA’s scientific measurements of current climate disruptions. AI-generated animation envisions possible future climate outcomes.
The project was edited with Juri Koll during Refetoff’s 2023 artist residency at Building Bridges Art Exchange in collaboration with Dr. Eric Larour, manager of NASA’s Earth Sciences Division at the Jet Propulsion Laboratory. The original soundtrack is written and performed by award-winning composer Paul Cantelon and Sultan + Shepard.
Blending hard science, documentary video, and impressionistic imaginaries, Refetoff is known for using aesthetic strategies to define and communicate an urgent need for both personal and systemic engagement, leveraging the natural beauty of remote regions to command our global attention toward local climate issues.
The exhibition will be accompanied by a performance from Hibiscus TV artists Kaye Freeman and Amy Kaps, and will also include a talk with Refetoff, curator Andi Campognone, and Rosanna Xia, L.A. Times climate journalist and author of California Against the Sea.
AAL MUSEUM – SANTIAGO, CHILE
Project: Be Water
Artist: Antuan
Curator: Marisa Caichiolo
Booth 1361
The immersive installation “Be Water” presents a visual narrative that delves into the multifaceted dimensions of water in nature and human life. Antuan’s creation of the Human Net, a human geometric structure visible in each sculptural piece, symbolizes the symmetry of the universe, elemental purity, and omnipresent wisdom. The characters within the installation represent the unity of humanity in the face of the urgent need to address the global water crisis, highlighting the essential collaboration between humanity and AI to create a new network of human consciousness. This interconnectedness is crucial in working collectively to tackle the challenges posed by the water crisis and establish a new order for the planet.
The installation places a particular emphasis on the intrinsic memory of water and explores how AI can effectively convey the significance of this vital element to humanity. This exploration seamlessly integrates art, science, space, metaphysics, energy, and the compassionate stewardship of our planet. By captivating audiences, “Be Water” aims to inspire a reconsideration of our relationship with water, shedding light on its potential to heal and sustain us through its memory. The “Be Water” installation represents a significant milestone in the ongoing art-science research led by the esteemed contemporary artist, Antuan. Building upon the success of the acclaimed project, “The Other Dimension,” which was showcased in an exhibition at the Museum of Contemporary Art in Miami, FL in 2017, “Be Water” continues to push the boundaries of artistic expression and scientific exploration.
The installation places a particular emphasis on the intrinsic memory of water and explores how AI can effectively convey the significance of this vital element to humanity. This exploration seamlessly integrates art, science, space, metaphysics, energy, and the compassionate stewardship of our planet. By captivating audiences, “Be Water” aims to inspire a reconsideration of our relationship with water, shedding light on its potential to heal and sustain us through its memory. The “Be Water” installation represents a significant milestone in the ongoing art-science research led by the esteemed contemporary artist, Antuan. Building upon the success of the acclaimed project, “The Other Dimension,” which was showcased in an exhibition at the Museum of Contemporary Art in Miami, FL in 2017, “Be Water” continues to push the boundaries of artistic expression and scientific exploration.
RED LINE CONTEMPORARY ART CENTER – DENVER, COLORADO
Project: Entropic Systems
Artist: Laleh Mehran
Curator: Louise Martorano
Booth 1363
Project: Entropic Systems
Artist: Laleh Mehran
Curator: Louise Martorano
Booth 1363
Laleh Mehran’s Entropic Systems is an immersive installation that considers the politicization of ideologies, dictating responses to activities outside and within its borders. Analogous to doctrines imposed by governments or systems on people, the “drawing” machine seeks to instill pattern and order, operating hypnotically and rhythmically. In this work, the machine inscribes a sort of memory into the mineral bed, much like a rudimentary hard drive. Each day the past is erased, but at the same time, the grains will never sit the same again, containing remains of history much in the way that AI is trained with billions of words and yet “remembers” none of them.
Project: Threaded Tracing
Artist: Chris Coleman
Curator: Louise Martorano
Booth 1363
Threaded Tracing uses current computer vision technology (LiDAR) to encode natural and human made spaces into digital memory. Made during visits to forests and airports across the US, it plays with the idea of how we remember time and space vs how computers try to represent and process it. As we feed more and more of our lives into AI systems, we must continue to ask what is lost in translation. Music by George Cicci.
RAUBTIER & UNICOS PRODUCTIONS – LOS ANGELES
Project: Bridging emotional and digital landscapes.
Artist: Raubtier & Unicos Production
Curator: Marisa Caichiolo
Booth 1365
This exhibition explores the intersection of human emotion and advanced digital technology to create a thought-provoking digital mural of individual and collective experiences. Through the utilization of AI-driven word-to-image conversion, tangible printing, and large-scale projections, the artists are seeking to reveal the evolving correlation between personal memories and moments and their emotional and physical manifestations.
Visitors are encouraged to engage with a touchscreen interface to input words or phrases that resonate with their emotions and memories. These contributions are then projected onto a wall, forming a dynamic word-cloud art display that evolves as new submissions are added. The collective impact of societal connections is visually represented as frequently repeated phrases gain prominence through boldness within the projection, reflecting the shared experiences of the community. Simultaneously, each visitor’s input undergoes processing by an AI program, resulting in the creation of a unique image corresponding to the submitted words or phrases. These personalized images are then printed and made available for visitors to take home, serving as tangible representations of their individual contributions to the evolving artwork.
This immersive exhibition invites audiences to contemplate the fluid transition from abstract emotional states to concrete visual representations, while also highlighting the interconnected nature of individual and collective human experiences. As the exhibition progresses, it builds upon itself, capturing a collective snapshot in time and weaving a historical narrative that embodies the convergence of emotional and rational realm.
Visitors are encouraged to engage with a touchscreen interface to input words or phrases that resonate with their emotions and memories. These contributions are then projected onto a wall, forming a dynamic word-cloud art display that evolves as new submissions are added. The collective impact of societal connections is visually represented as frequently repeated phrases gain prominence through boldness within the projection, reflecting the shared experiences of the community. Simultaneously, each visitor’s input undergoes processing by an AI program, resulting in the creation of a unique image corresponding to the submitted words or phrases. These personalized images are then printed and made available for visitors to take home, serving as tangible representations of their individual contributions to the evolving artwork.
This immersive exhibition invites audiences to contemplate the fluid transition from abstract emotional states to concrete visual representations, while also highlighting the interconnected nature of individual and collective human experiences. As the exhibition progresses, it builds upon itself, capturing a collective snapshot in time and weaving a historical narrative that embodies the convergence of emotional and rational realm.
DIVERSEartLA 2023 Edition
Curated by Marisa Caichiolo
For the second year in a row, DIVERSEartLA explores and raises awareness of climate change, its effect in all areas of our lives and innovative ways to support climate action.
This year’s program focuses on water and the record-breaking drought in California. The country’s most populous state has been facing decades of water shortages due to rising temperatures, groundwater depletion and a shrinking Colorado River, and it is being forced to quickly adapt to new, urgent challenges.
“DIVERSEartLA’s immersive experiences, installations and dialogs provide visitors with a rare opportunity to reflect on the looming impact mankind will face as the planet continues to warm and sea levels continues to rise,” says DIVERSEartLA Curatorial Director Marisa Caichiolo. “Men-driven climate change and drought are here to stay unless humans re-imagine our interactions with nature and work together on potential solutions.”
Additionally, DIVERSEartLA is devoting a specific area at the fair for community engagement. Led by LA-based Skid Row Cooling Resources and supported by Homeless Health Care Los Angeles (HHCLA), this space will allow visitors to participate in dialogs to explore the importance of water, cooling resources in downtown LA and potential responses to various environmental challenges. In essence, this community-oriented project will reinforce the value of translating environmental advocacy into a space for constructive conversations.
DIVERSEartLA 2023’s participating art institutions, museums and non-profits:
– Italian Cultural Institute (Los Angeles)
– AMA Art Museum of the Americas of the Organization of American States (Washington D.C.)
– La Neomudejar Museum (Madrid, Spain)
– Museum of Latin American Art (MOLAA) (Long Beach) – Skid Row Cooling Resources / Homeless Health Care Los Angeles (HHCLA) (Los Angeles)
– Kunstiniciative Wurzeln und Flügel e.V Art Museum (Germany)
– ReflectSpace Gallery, City of Glendale Library Arts and Culture Department (Los Angeles) & Culture Nomad Arts Center (Seoul)
– OPC OFFICE CULTURAL PROJECTS (Mexico)
– Raubtier & Unicus Productions
DIVERSEartLA Museum Acquisition Award
DIVERSEartLA 2023 is proud to announce the inaugural edition of the Museum Acquisition Award for Emerging Artists.
Inspired by Spain’s La Neomudéjar Museum to mark its 10th anniversary, the initiative seeks to support the art scene by promoting the acquisition of art works by leading national and international museums. The winner of the 5000-euro award will be chosen by Néstor Prieto and Francisco Brieves, Co-Directors of La Neomudéjar Museum, as well as Marisa Caichiolo, Curator of DIVERSEartLA. The award will be presented by Prieto, Brieves, Caichiolo and LA Art Show Director Kassandra Voyagis in a closing ceremony on Sunday, February 19th, at the Los Angeles Convention Center.
The Museum Acquisition Award has been created by Spain’s La Neomudéjar Museum with the support of the LA Art Show.
AMA / Art Museum of the Americas of the Organization of American States / WASHINGTON D.C.
Project: “The Pulse of Silence” Video and Sound Installation
Artist: Alfredo De Stefano
Curator: Fabian Goncalvez Borrega
Using desert images from Chile’s Atacama, Egypt’s Sahara, Iceland’s Black, India’s Thar, Peru’s Nazca, Marrueco’s Sahara, Mexico’s Sonora-Arizona and Chihuahuense, Mongolia’s Gobi, Namibia’s Namibia as well as USA’s White Sands, the artist seeks to create an immersive experience by unifying the vastness and silence present across these lands.
Silence feels like a pulse, but it’s a different pulse in each desert. Sometimes it’s a very loud pulse, Alfredo De Stefano explains.
De Stefano is one of Mexico’s most prominent contemporary conceptual photographers. His body of work includes images of desert landscapes that address the natural environment’s elemental significance and our relationship to the land. Often employing ice, fire, and light, De Stefano creates enigmatic installations with both natural and man-made objects in ethereal desert settings.
De Stefano was born in the city of Monclova (Coahuila), located in the desert in Northeastern Mexico. His work has been exhibited internationally, including solo exhibitions at The Recoleta Cultural Center in Buenos Aires, Argentina, 2012; Fourth International Biennial of Photography, Amsterdam, Netherlands, 2010; International Biennial of Guangzhou, Museum of Art, Guangzhou, China, 2009 and the Museum of Art Carrillo Gil, Mexico City, Mexico, 2008. De Stefano’s monographs include In This Place, 2008, Brief Chronicles of Light, 2007 and Replenishing Emptiness, 2002. Among the institutions that have collected De Stefano’s work are The Museum of Fine Arts, Houston, Texas; Centro de la Imagen, Mexico City, Mexico; Museo del Barrio, New York, NY; and the FEMSA Collection, Monterrey, Mexico.
Silence feels like a pulse, but it’s a different pulse in each desert. Sometimes it’s a very loud pulse, Alfredo De Stefano explains.
De Stefano is one of Mexico’s most prominent contemporary conceptual photographers. His body of work includes images of desert landscapes that address the natural environment’s elemental significance and our relationship to the land. Often employing ice, fire, and light, De Stefano creates enigmatic installations with both natural and man-made objects in ethereal desert settings.
De Stefano was born in the city of Monclova (Coahuila), located in the desert in Northeastern Mexico. His work has been exhibited internationally, including solo exhibitions at The Recoleta Cultural Center in Buenos Aires, Argentina, 2012; Fourth International Biennial of Photography, Amsterdam, Netherlands, 2010; International Biennial of Guangzhou, Museum of Art, Guangzhou, China, 2009 and the Museum of Art Carrillo Gil, Mexico City, Mexico, 2008. De Stefano’s monographs include In This Place, 2008, Brief Chronicles of Light, 2007 and Replenishing Emptiness, 2002. Among the institutions that have collected De Stefano’s work are The Museum of Fine Arts, Houston, Texas; Centro de la Imagen, Mexico City, Mexico; Museo del Barrio, New York, NY; and the FEMSA Collection, Monterrey, Mexico.
SKID ROW Cooling Resources/ Homeless Health Care Los Angeles (HHCLA) /
LOS ANGELES
Project: Community Engagement
Curator: Tom Grode
LOS ANGELES
Project: Community Engagement
Curator: Tom Grode
We Are Water. We are mostly water, and so climate change and water cannot be separated from us; they’re part of us. Downtown Los Angeles is an urban heat island and the residents of Skid Row are particularly vulnerable. Skid Row Cooling Resources was created in 2021 to address this reality.
Project: IL GIARDINO PLANETARIO
(The Planetary Garden)
Artist: Pietro Ruffo in collaboration with Noruwei
3’30 min
2023
Video produced with the support of the Italian Cultural Institute in Los Angeles
(The Planetary Garden)
Artist: Pietro Ruffo in collaboration with Noruwei
3’30 min
2023
Video produced with the support of the Italian Cultural Institute in Los Angeles
The title is inspired by French philosopher Gilles Clement. This video installation is an allegory of the planet as a garden.
Ecological finiteness makes the limits of the biosphere appear as a closed space embracing all life.
In line with the title of DIVERSEartLA, diversity in this work refers to the number of distinct living species among animals, plants and simple beings (bacteria, viruses, etc.) that currently exist in only one species: humans. Contained in this one specie’s DNA is the diverse history of other species that have inhabited this planet before us and have left their traces not only in our DNA, but also in our cultural environment and the landscape that surrounds us.
The work is presented as an analysis of the landscape that brings to light the changing character of what seems “naturally” present: from the expanse of water in a tropical forest emerges a memory of the mountainous reliefs that previously covered this place, the sparse trees of the savannah, the grass of the bovine pastures in the Alps… An organized whole, according to the possibilities offered by the survey, the exposures, the accesses and what our gaze can embrace from a peak.
The alternation of different climates has turned the environment into a carpet woven with dark and rough shapes: the forests; alternating with light surfaces, the grass that furrows the landscape animates it with curved perspectives re-launched by a gentle and deep relief. The balance of shadows and lights is driven by a dynamic whose evolutionary process one can only guess, one in which we appeared last minute, one that made us extremely complex.
Presented in collaboration with the Italian Cultural Institute (IIC) in Los Angeles The Italian Cultural Institute of Los Angeles is an overseas office of the Ministry of Foreign Affairs and International Cooperation dedicated to the promotion of Italian culture in the United States. The main activities of the IIC include the organization and support of events, exhibitions and festivals, the development of academic exchange programs, and the promotion of the Italian language. For more information visit http://iiclosangeles.esteri.it
Ecological finiteness makes the limits of the biosphere appear as a closed space embracing all life.
In line with the title of DIVERSEartLA, diversity in this work refers to the number of distinct living species among animals, plants and simple beings (bacteria, viruses, etc.) that currently exist in only one species: humans. Contained in this one specie’s DNA is the diverse history of other species that have inhabited this planet before us and have left their traces not only in our DNA, but also in our cultural environment and the landscape that surrounds us.
The work is presented as an analysis of the landscape that brings to light the changing character of what seems “naturally” present: from the expanse of water in a tropical forest emerges a memory of the mountainous reliefs that previously covered this place, the sparse trees of the savannah, the grass of the bovine pastures in the Alps… An organized whole, according to the possibilities offered by the survey, the exposures, the accesses and what our gaze can embrace from a peak.
The alternation of different climates has turned the environment into a carpet woven with dark and rough shapes: the forests; alternating with light surfaces, the grass that furrows the landscape animates it with curved perspectives re-launched by a gentle and deep relief. The balance of shadows and lights is driven by a dynamic whose evolutionary process one can only guess, one in which we appeared last minute, one that made us extremely complex.
Presented in collaboration with the Italian Cultural Institute (IIC) in Los Angeles The Italian Cultural Institute of Los Angeles is an overseas office of the Ministry of Foreign Affairs and International Cooperation dedicated to the promotion of Italian culture in the United States. The main activities of the IIC include the organization and support of events, exhibitions and festivals, the development of academic exchange programs, and the promotion of the Italian language. For more information visit http://iiclosangeles.esteri.it
Kunstiniciative Wurzeln und Flügel e.V Art Museum /
GERMANY
Project: Sense of Space Project
Artist: Petra Eiko
Curator: Beate Düsterberg-Eissing
Supported by Consulate General of the Federal Republic of Germany
in Los Angeles
GERMANY
Project: Sense of Space Project
Artist: Petra Eiko
Curator: Beate Düsterberg-Eissing
Supported by Consulate General of the Federal Republic of Germany
in Los Angeles
Petra Eiko’s installation immerses the viewer in a sensorial experience through six 3D sculptures and a video installation. Her work fosters a conversation on the significance of water –for both individuals and humans collectively–, as well as its impact on the future of our planet. Her work raises awareness of climate change by highlighting the fragile state of water on Earth. She explores the changes and challenges we face today, which come as the result of our endless exploitation of water supplies and natural resources, and the continued impact the industrial world has had on humans and the environment.
The organization, located at Schloss Reuschenberg in Neuss (Germany), was founded in 2004, inspired by a quote of German poet Goethe: “There are only two lasting bequests we can hope to give our children. One of these is roots, the other, wings”. Undoubtedly, we all need deep roots to develop a firm foundation and strength. Wings we need to let our dreams and creativity fly.
The organization, located at Schloss Reuschenberg in Neuss (Germany), was founded in 2004, inspired by a quote of German poet Goethe: “There are only two lasting bequests we can hope to give our children. One of these is roots, the other, wings”. Undoubtedly, we all need deep roots to develop a firm foundation and strength. Wings we need to let our dreams and creativity fly.
LA NEOMUDEJAR Museum /
SPAIN
Project: Uninhabited
Artist: Carmen Isasi
Curator: Néstor Prieto
SPAIN
Project: Uninhabited
Artist: Carmen Isasi
Curator: Néstor Prieto
Carmen Isasi has worked on the UNINHABITED project since 2019. During this time, not only has the immigration crisis worsened, but developed countries have also tightened their policies to stop the immigration flow into their territories.
With new, tougher immigration policies in place, immigrants have lost all hope to find a place they can call home as they embark on a dangerous, life-threatening sea journey to reach European shores.
Isasi’s project features the clothes worn by immigrants on their way to Europe. Their clothes symbolize the many struggles they have faced before and during their journey: They are a testament to their lives, personal stories and country of origin.
From a critical standpoint, this proposal acts as a bridge connecting human drama to the rest of us.
With new, tougher immigration policies in place, immigrants have lost all hope to find a place they can call home as they embark on a dangerous, life-threatening sea journey to reach European shores.
Isasi’s project features the clothes worn by immigrants on their way to Europe. Their clothes symbolize the many struggles they have faced before and during their journey: They are a testament to their lives, personal stories and country of origin.
From a critical standpoint, this proposal acts as a bridge connecting human drama to the rest of us.
MOLAA Museum of Latin American Art/
LONG BEACH
Project: When God Was A Woman, 1980-2021
Artist: Judith F. Baca (USA, 1946)
Curator: Gabriela Urtiaga
LONG BEACH
Project: When God Was A Woman, 1980-2021
Artist: Judith F. Baca (USA, 1946)
Curator: Gabriela Urtiaga
Judith F Baca, in contemplation of Merlin Stone’s When God Was A Woman –an exploration of ancient worship of the female Goddess and the subsequent suppression of women’s rites–, developed a workshop process to source ideas, record dreams, and construct imagery and content emblematic of females. As a double-sided triptych, Thirteen Women in the Volcanic Eruption and The Birth of the Vision of the Heart was brought to completion in 2021, as Baca advanced these paradigms.
Thirteen Women in the Volcanic Eruption incorporates the young women who participated in the workshop into the painting, who simultaneously represent Latina and Chicana women –and all women. Their naked bodies are shown standing in the fiery lava of the volcano, displaying the palms of their hands, and in the center –the heart–, synonymous with life. All the figures emerge from the fertility of the volcano’s ashes in a fertile paradise, like a phoenix that rises from its ashes ready for a grand ceremony.
The Birth of the Vision of the Heart is a continuation of this story: the great ceremony of a ritual, a goddess possessing vital energy, Mother Earth. She stands with her hands extending into large flowering branches, her rhizomatic feet extend into deep roots, and throughout her body, blood spreads in venous threads that connect her corporeal mass with an earthly paradise and the originating source of life; a fertile pond with the most ancient forms of life.
Ecofeminist: JUDY BACA
“On the Matriarchal Mural and Its Symbols”
Thirteen Women in the Volcanic Eruption incorporates the young women who participated in the workshop into the painting, who simultaneously represent Latina and Chicana women –and all women. Their naked bodies are shown standing in the fiery lava of the volcano, displaying the palms of their hands, and in the center –the heart–, synonymous with life. All the figures emerge from the fertility of the volcano’s ashes in a fertile paradise, like a phoenix that rises from its ashes ready for a grand ceremony.
The Birth of the Vision of the Heart is a continuation of this story: the great ceremony of a ritual, a goddess possessing vital energy, Mother Earth. She stands with her hands extending into large flowering branches, her rhizomatic feet extend into deep roots, and throughout her body, blood spreads in venous threads that connect her corporeal mass with an earthly paradise and the originating source of life; a fertile pond with the most ancient forms of life.
Ecofeminist: JUDY BACA
“On the Matriarchal Mural and Its Symbols”
Double Sided Triptych:“Thirteen Women in the Volcanic Eruption” (Side 1)
Acrylic on wood panels – 8 x 12 feet
MOLAA Permanent Collection. Museum purchase with
MOLAA Acquisition Fund and funds provided by the
Lynne Okon Scholnick Fund
OPC Office Cultural Projects /
MEXICO
Project: Rendezvous: Esta tierra es Mi Tierra
Artist: Davis Birks
Curator: Laura Ayala
MEXICO
Project: Rendezvous: Esta tierra es Mi Tierra
Artist: Davis Birks
Curator: Laura Ayala
The moment of our appointment arrived. We are where we had feared and predicted. Through a video installation, Davis Birks offers us the possibility to activate a conversation in which we can review the past, the present and the future. It is a reflection on the environment and our impact on it. That would be a first reading.
It is observed how an organic arrangement (that of a river) is replaced by one of geometric and artificial order. This happens as the audience comes into contact with the piece. The curves and the apparent disorder in which the small stones of a river are placed and the capricious shapes with which the water flows will be replaced by a Tartan pattern. The artist chose to use this particular pattern as a reference and homage to his Scottish ancestry. The crisscrossing lines could be the axes of a GPS grid, or the interwoven linear trace of the urbanizations in which we live and that is “natural” to us. This could be a second reading.
Birks confronts us with Nature observed through a surveillance camera lens. That is why he chose black and white for the video. Nature distant and supervised, we are supervised. We = Nature. We have almost forgotten the latter. The conquest of natural territory has caused not only an impact on the environment; it has also had consequences on its original inhabitants and has led among other things, to their displacement. This could be a third reading.
These sensitive themes, or others, emerge from a narrative, apparently simple, that unfolds many layers of interpretation. What would your reading be?
It is observed how an organic arrangement (that of a river) is replaced by one of geometric and artificial order. This happens as the audience comes into contact with the piece. The curves and the apparent disorder in which the small stones of a river are placed and the capricious shapes with which the water flows will be replaced by a Tartan pattern. The artist chose to use this particular pattern as a reference and homage to his Scottish ancestry. The crisscrossing lines could be the axes of a GPS grid, or the interwoven linear trace of the urbanizations in which we live and that is “natural” to us. This could be a second reading.
Birks confronts us with Nature observed through a surveillance camera lens. That is why he chose black and white for the video. Nature distant and supervised, we are supervised. We = Nature. We have almost forgotten the latter. The conquest of natural territory has caused not only an impact on the environment; it has also had consequences on its original inhabitants and has led among other things, to their displacement. This could be a third reading.
These sensitive themes, or others, emerge from a narrative, apparently simple, that unfolds many layers of interpretation. What would your reading be?
ReflectSpace Gallery, Glendale Library, Arts & Culture (Glendale)
& Culture Nomad (Seoul)
Project: “Eternal light – 21c The Last Judgment”
Artist: HanHo
Curators: Monica Hye Yeon Jun, Ara & Anahid Oshagan
& Culture Nomad (Seoul)
Project: “Eternal light – 21c The Last Judgment”
Artist: HanHo
Curators: Monica Hye Yeon Jun, Ara & Anahid Oshagan
Inspired by Michelangelo’s masterpiece, The Last Judgment, artist HanHo’s Eternal light – 21c
Using traditional art techniques combined with technology, HanHo creates multi-colored light-infused immersive worlds that shift and ebb in front of your eyes. Nearly all the figures depicted in the work are the artist himself—performance, history, war, future, fantasy all meld in this massive panorama of humanity. “Eternal Light,” as the artist calls it, bathes his canvases and elevates his worlds to near mystical proportions. Will this eternal light uplift humanity from the on- rushing climate crisis? Will we have the ability, as species, to avoid our own destruction? Who will judge us, finally? These questions undergird HanHo’s “Last Judgment” and create a space for us to contemplate them and our future.
Using traditional art techniques combined with technology, HanHo creates multi-colored light-infused immersive worlds that shift and ebb in front of your eyes. Nearly all the figures depicted in the work are the artist himself—performance, history, war, future, fantasy all meld in this massive panorama of humanity. “Eternal Light,” as the artist calls it, bathes his canvases and elevates his worlds to near mystical proportions. Will this eternal light uplift humanity from the on- rushing climate crisis? Will we have the ability, as species, to avoid our own destruction? Who will judge us, finally? These questions undergird HanHo’s “Last Judgment” and create a space for us to contemplate them and our future.
Raubtier & Unicus Productions
LOS ANGELES
Project: Reactive Elements
Artist: Alejandro Ordoñez and Raubtier & Unicus
Curator: Marisa Caichiolo
LOS ANGELES
Project: Reactive Elements
Artist: Alejandro Ordoñez and Raubtier & Unicus
Curator: Marisa Caichiolo
Reactive Elements is an art installation dealing with the fragility our natural resources and the chain-like reactions human activities have set off on planet Earth. Through the use of a voile, –a suspended piece of fabric– and by projecting images onto it, the artist unveils an ugly reality, while providing visitors with the opportunity to come face-to-face with our own individual footprint and the cumulative impact of anthropogenic activities on our environment.
The projected images are divided into four sets to represent the different elements we, as humans, actively affect: air, water, earth and fire. The universal nature of the images appeals to viewers’ sense of belonging, pushing them towards the realization we have all collectively played role in this tragic destruction and deterioration of the planet, while the volatility of the fabric dancing in the wind serves as a poignant metaphor to the fact that, due to no one else’s doing but our own, life on Earth hangs by a thread.
The projected images are divided into four sets to represent the different elements we, as humans, actively affect: air, water, earth and fire. The universal nature of the images appeals to viewers’ sense of belonging, pushing them towards the realization we have all collectively played role in this tragic destruction and deterioration of the planet, while the volatility of the fabric dancing in the wind serves as a poignant metaphor to the fact that, due to no one else’s doing but our own, life on Earth hangs by a thread.
DIVERSEartLA 2022
DIVERSEartLA is back with a new ecological lens. Curated by Marisa Caichiolo, this year’s edition will examine not just how the environment is represented in art, but how humanity’s place in the world is depicted. This exhibition will open up an important dialogue about the Earth’s past, present, and future, uniting the community around discussions of the global climate crisis and potential solutions.
“One of the most powerful things about art is that it brings people together, and transforms the way we communicate. The goal of DIVERSEartLA 2022 is to view this sector of art within the show through ecological glasses.
This topic is at the heart of a growing number of art narratives, including exhibitions built with high-tech innovations, designed to inspire artistic appreciation and the desire to respond to environmental challenges – reinforcing the value of translating environmental advocacy into art.
The installations, immersive experiences, and performances represent our present day and the looming impact we will all face if the planet continues to warm. DIVERSEartLA 2022 will encourage visitors to confront the complex challenges of our global climate crisis and imagine potential solutions.” – Marisa Caichiolo
Our engagement with museums and institutions this year includes projects with Dox Contemporary in Prague/Czech Center New York and The General Consulate of The Czech Republic in Los Angeles; MUSA Museum of the Arts of the University of Guadalajara and MCA Museum of Environmental Science; MUMBAT Museum of Fine Arts of Tandil & Museum of Nature and Science Antonio Serrano of Entre Rios, Argentina; Museum of Nature of Cantabria, Spain; Skid Row communities; Torrance Art Museum; Raubtier Productions & Unicus.
“One of the most powerful things about art is that it brings people together, and transforms the way we communicate. The goal of DIVERSEartLA 2022 is to view this sector of art within the show through ecological glasses.
This topic is at the heart of a growing number of art narratives, including exhibitions built with high-tech innovations, designed to inspire artistic appreciation and the desire to respond to environmental challenges – reinforcing the value of translating environmental advocacy into art.
The installations, immersive experiences, and performances represent our present day and the looming impact we will all face if the planet continues to warm. DIVERSEartLA 2022 will encourage visitors to confront the complex challenges of our global climate crisis and imagine potential solutions.” – Marisa Caichiolo
Our engagement with museums and institutions this year includes projects with Dox Contemporary in Prague/Czech Center New York and The General Consulate of The Czech Republic in Los Angeles; MUSA Museum of the Arts of the University of Guadalajara and MCA Museum of Environmental Science; MUMBAT Museum of Fine Arts of Tandil & Museum of Nature and Science Antonio Serrano of Entre Rios, Argentina; Museum of Nature of Cantabria, Spain; Skid Row communities; Torrance Art Museum; Raubtier Productions & Unicus.
2022 DIVERSEartLA Highlights
Video: Eric Minh Swenson.
Video: Eric Minh Swenson.
THE SIGN (part of the Real News series)
Site specific installation by: Swen Leer
Dox Contemporary, Prague / Czech Center New York &
The General Consulate of The Czech Republic in Los Angeles
Site specific installation by: Swen Leer
Dox Contemporary, Prague / Czech Center New York &
The General Consulate of The Czech Republic in Los Angeles
Highway signs are always right. Not in a political way but by way of conveying a fact. In our time of social-media-fed competing narratives, “alternative facts” and fake news, the road sign seems to be one of the last anchors of truth that everyone can agree on, left and right. It is a true icon of Los Angeles, a city of freeways and cars, of people commuting to and fro, many hours a day, each day.
Arguably, road signs are the most read and trusted literature of Los Angeles, if we can call them that. On the one hand, they are a powerful symbol of progress of the last century, and of mobility. On the other hand, however, they represent the evidence of our technological rampage that has led us into a real climate crisis.
The installation, The Sign, plugs into this a-priori factuality by mimicking the iconic freeway signage, while communicating an unexpected message: “Your children WILL hate you – eventually”. The text is speculation about the future of our society as well as a deeply disturbing existential thought that has probably crossed the mind of most parents. Their kids are the ones who will pick up the tab of our celebrated economical progress – a religion of economical growth at all costs. Placing the iconographic freeway sign into the interior of the LA Convention Center creates an absurd situation for the viewer, conveying a disturbing message in the matter-of-fact form they have recently seen getting off the freeway to get to the LA Art Show. And the message stands, after all – highway signs are always right. Right?
Arguably, road signs are the most read and trusted literature of Los Angeles, if we can call them that. On the one hand, they are a powerful symbol of progress of the last century, and of mobility. On the other hand, however, they represent the evidence of our technological rampage that has led us into a real climate crisis.
The installation, The Sign, plugs into this a-priori factuality by mimicking the iconic freeway signage, while communicating an unexpected message: “Your children WILL hate you – eventually”. The text is speculation about the future of our society as well as a deeply disturbing existential thought that has probably crossed the mind of most parents. Their kids are the ones who will pick up the tab of our celebrated economical progress – a religion of economical growth at all costs. Placing the iconographic freeway sign into the interior of the LA Convention Center creates an absurd situation for the viewer, conveying a disturbing message in the matter-of-fact form they have recently seen getting off the freeway to get to the LA Art Show. And the message stands, after all – highway signs are always right. Right?
The Other Waterfall & Chapala Drops…Drop By Drop
by Claudia Rodriguez
MUSA Museum of the Arts of the University of Guadalajara
and MCA Museum of Environmental Science
by Claudia Rodriguez
MUSA Museum of the Arts of the University of Guadalajara
and MCA Museum of Environmental Science
Through the University of Guadalajara Foundation | USA, the Universidad de Guadalajara presents their most relevant museum projects: MUSA Museum of the Arts of the University of Guadalajara and MCA Museum of Environmental Science.
MUSA is a museum with 27 years of history. Their exhibition program includes activities in which the arts become an impulse to motivate social transformation. Their compromise with the environment was consolidated with a state certification that recognizes the process and actions of the institution to protect the natural environment. The MUSA Museum of the Arts was one of the first university properties that implemented sustainable actions related to the management and recycling of waste, as well as, the rational use of water and energy.
The MCA Museum of Environmental Science is an upcoming project of the university. Envisioned as a space engaging with the community in order to foster a sense of belonging through empathy and closeness, that will lead the community to initiate actions of ecology preservation. There are three main visions that constitute the vocation of this museum: to understand the urban dynamics and their impact in nature, the equal disclosure of science, and the generation of emotions that lead to learning.
This time, the MCA presents two installations from the artist, Claudia Rodríguez: La otra cascada — The Other Waterfall — and Chapala también se-a-gota — Chapala drops…drop by drop —, both reflecting the contamination and lack of water that has affected the state of Jalisco, Mexico in the last decades.
MUSA is a museum with 27 years of history. Their exhibition program includes activities in which the arts become an impulse to motivate social transformation. Their compromise with the environment was consolidated with a state certification that recognizes the process and actions of the institution to protect the natural environment. The MUSA Museum of the Arts was one of the first university properties that implemented sustainable actions related to the management and recycling of waste, as well as, the rational use of water and energy.
The MCA Museum of Environmental Science is an upcoming project of the university. Envisioned as a space engaging with the community in order to foster a sense of belonging through empathy and closeness, that will lead the community to initiate actions of ecology preservation. There are three main visions that constitute the vocation of this museum: to understand the urban dynamics and their impact in nature, the equal disclosure of science, and the generation of emotions that lead to learning.
This time, the MCA presents two installations from the artist, Claudia Rodríguez: La otra cascada — The Other Waterfall — and Chapala también se-a-gota — Chapala drops…drop by drop —, both reflecting the contamination and lack of water that has affected the state of Jalisco, Mexico in the last decades.
Take A Virtual Tour
The Earth’s Fruits
by Guillermo Anselmo Vezzosi
Curated by Indiana Gnocchini
MUMBAT Museum of Fine Arts of Tandil & Museum of Nature and
Science Antonio Serrano of Entre Rios, Argentina
by Guillermo Anselmo Vezzosi
Curated by Indiana Gnocchini
MUMBAT Museum of Fine Arts of Tandil & Museum of Nature and
Science Antonio Serrano of Entre Rios, Argentina
The artist, Guillermo Anselmo Vezzosi, expresses a reflection on his long-standing concern about how our primacies and human values have increasingly distanced us from our true essence, and rethinking our priorities as a society. Our social habits within the last few decades – which have been based around consumption – have had an impact on climate change, on the conservation of the environment, and the necessary care of the environment – individually and collectively.
Artists have explored new perspectives on approaching “creative doing” by using environmental art, by creating awareness through ecological activism. In this sense, Guillermo shows us the huge colossal amounts of waste that we add every day and it is from his own work, in line with the community, that he dedicates his hours collecting from the same environment he inhabits, which he calls Fruits of Progress. He aims to heal the footprint of contemporary man, which at present it seems irreversible.
The Earth’s Fruits is constituted as a scientific research project whose ideology culminates with an installation work of a specific ephemeral site, where the waste that takes on a second life is dignified. The immersive installation invites us to reconsider that we are part of a whole with nature – a complex whole in constant mutation and adaptation. It challenges us to examine our most recondite thoughts, questioning who we are and the links that unite us to our habitat. In this way, it propositions the visitor to act on new imaginaries, creating an illusion of time and place, where he is the protagonist.
Artists have explored new perspectives on approaching “creative doing” by using environmental art, by creating awareness through ecological activism. In this sense, Guillermo shows us the huge colossal amounts of waste that we add every day and it is from his own work, in line with the community, that he dedicates his hours collecting from the same environment he inhabits, which he calls Fruits of Progress. He aims to heal the footprint of contemporary man, which at present it seems irreversible.
The Earth’s Fruits is constituted as a scientific research project whose ideology culminates with an installation work of a specific ephemeral site, where the waste that takes on a second life is dignified. The immersive installation invites us to reconsider that we are part of a whole with nature – a complex whole in constant mutation and adaptation. It challenges us to examine our most recondite thoughts, questioning who we are and the links that unite us to our habitat. In this way, it propositions the visitor to act on new imaginaries, creating an illusion of time and place, where he is the protagonist.
Take A Virtual Tour
Our Turn To Change
by Andrea Juan and Gabriel Penedo Diego
Museum of Nature of Cantabria, Spain
by Andrea Juan and Gabriel Penedo Diego
Museum of Nature of Cantabria, Spain
Presented by Museum of Nature of Cantabria, Spain, the video installation appeals to the viewer, through images, to awaken to an increasingly worrying reality. Our Turn To Change deals with climate change and the consequences that these changes produce in our habitat. Nature speaks to us, screams at us…
One small drop fell and then another and another and another. Thus, drop by drop, large amounts of ice are lost every second. The poles are melting. Meanwhile, we continue on with our lives, with our dreams, as if this could never affect us. The dripping continues and vast frozen expanses have already been lost. The Arctic is at minimum levels, Antarctica has lost ice shelves, glaciers have retracted and the ocean levels continue to rise.
Forest fires, droughts, tidal waves, floods. It is our turn to change. We can still do it.
One small drop fell and then another and another and another. Thus, drop by drop, large amounts of ice are lost every second. The poles are melting. Meanwhile, we continue on with our lives, with our dreams, as if this could never affect us. The dripping continues and vast frozen expanses have already been lost. The Arctic is at minimum levels, Antarctica has lost ice shelves, glaciers have retracted and the ocean levels continue to rise.
Forest fires, droughts, tidal waves, floods. It is our turn to change. We can still do it.
Take A Virtual Tour
Recognizing Skid Row As A Neighborhood: Skid Row Cooling Resources
Curated by Tom Grode
Curated by Tom Grode
Recognizing Skid Row As A Neighborhood is how DTLA 2040 (Department of City Planning) formally presented Skid Row this year to City Hall as part of updating the Downtown Community Plan. Skid Row is a dynamic, primarily African American, residential neighborhood – not a problem to be fixed. The brutal heat waves of September 2020 created Skid Row Cooling Resources, a collaborative planning effort and think tank to ensure the summer of 2021 and beyond was better for Skid Row residents. Skid Row is a unique Urban Heat Island in the larger Heat Island of Downtown Los Angeles.
Tom Grode
Tom moved from Santa Monica to 5th and Main in May 2012, not realizing he was a block from Skid Row. Since then, he’s focused on advocacy around Skid Row as a Community. Tom is an original member of the Skid Row Cooling Resources coalition, the Skid Row Now and 2040 coalition, the Skid Row Community Improvement Coalition, and the Skid Row Arts Alliance. He is heavily engaged with Skid Row as a powerful arts community, in particular a part of the Los Angeles Poverty Department (LAPD) and Urban Voices Project.
Tom Grode
Tom moved from Santa Monica to 5th and Main in May 2012, not realizing he was a block from Skid Row. Since then, he’s focused on advocacy around Skid Row as a Community. Tom is an original member of the Skid Row Cooling Resources coalition, the Skid Row Now and 2040 coalition, the Skid Row Community Improvement Coalition, and the Skid Row Arts Alliance. He is heavily engaged with Skid Row as a powerful arts community, in particular a part of the Los Angeles Poverty Department (LAPD) and Urban Voices Project.
Take A Virtual Tour
Memorial To The Future
Sculpture by Daniela Soberman
Video installations curated by: Kisito Assangni
Wilfried Agricola de Cologne
Photographic elements: open source via TAM staff
Curated by Max Presneill
Torrance Art Museum (TAM)
Sculpture by Daniela Soberman
Video installations curated by: Kisito Assangni
Wilfried Agricola de Cologne
Photographic elements: open source via TAM staff
Curated by Max Presneill
Torrance Art Museum (TAM)
The utopianism of modernity that led to scientific and technological developments also led us towards forms of capitalism that have endangered the planet. Exploitation, excess, and greed have driven this while an ostrich-head-in-the-sand posture has characterized our approach to engaging with climate change, and the problems and potential solutions that await us in the present as much as the near future.
The formalist structure, created by Daniela Soberman, acts as the historical link to the project of Modernity and its aspirations while simultaneously reminding us of its perils and failures. Using Brutalist architecture as a reference point that encapsulates both the idealism and abject failure of this model, the collaborations, via photograph and video, highlight the need for immediate action. This project brings together 6-8 artists, in conjunction with Soberman, to explore the situation within the historical context that led us to this point of environmental catastrophe but with contemporary takes on our current position.They do this not by way of propaganda, but rather via a diversity of photographic concerns that by physical proximity in their installation on a single structure, bring together various viewpoints and interpretations of warning, of caution, of danger in respect of our environment, nature and climate.
ECOPOETICS OF GENERIC WORLD
International video program on climate change
Curated by Kisito Assangni
Climate change is arguably the most pressing socio-political issue of our time, with famine, poverty, loss of biodiversity, and mass-relocation hanging in the balance. ECOPOETICS OF GENERIC WORLD offers a range of artistic positions and responses to the dichotomy of impending climate change. The project consists of a screening that presents works by international contemporary artists working at the intersection of arts, climate change, culture and technology.
The formalist structure, created by Daniela Soberman, acts as the historical link to the project of Modernity and its aspirations while simultaneously reminding us of its perils and failures. Using Brutalist architecture as a reference point that encapsulates both the idealism and abject failure of this model, the collaborations, via photograph and video, highlight the need for immediate action. This project brings together 6-8 artists, in conjunction with Soberman, to explore the situation within the historical context that led us to this point of environmental catastrophe but with contemporary takes on our current position.They do this not by way of propaganda, but rather via a diversity of photographic concerns that by physical proximity in their installation on a single structure, bring together various viewpoints and interpretations of warning, of caution, of danger in respect of our environment, nature and climate.
ECOPOETICS OF GENERIC WORLD
International video program on climate change
Curated by Kisito Assangni
Climate change is arguably the most pressing socio-political issue of our time, with famine, poverty, loss of biodiversity, and mass-relocation hanging in the balance. ECOPOETICS OF GENERIC WORLD offers a range of artistic positions and responses to the dichotomy of impending climate change. The project consists of a screening that presents works by international contemporary artists working at the intersection of arts, climate change, culture and technology.
Take A Virtual Tour
Environmental Digital Experience I A. Ordoñez
Curated by Marisa Caichiolo
Presented by Raubtier Productions & Unicus
Curated by Marisa Caichiolo
Presented by Raubtier Productions & Unicus
Climate change is a significant threat that has raised concerns all over the world.
From shifting weather patterns to rising sea levels, the impact of climate change
is global, and at an unprecedented scale.
Concerns about global warming have increased significantly since 2013. Climate activists across the world are now organizing protests and non-violent civil disobedience to raise awareness around the crisis.
Be that as it may, there are people who are not concerned about the effect of climate change and it is a divisive topic all over the world. We hope this installation can bridge the gap and instill a sense of urgency about the threats facing our planet so we can mend the issues that divide us and come together to heal the Earth.
Concerns about global warming have increased significantly since 2013. Climate activists across the world are now organizing protests and non-violent civil disobedience to raise awareness around the crisis.
Be that as it may, there are people who are not concerned about the effect of climate change and it is a divisive topic all over the world. We hope this installation can bridge the gap and instill a sense of urgency about the threats facing our planet so we can mend the issues that divide us and come together to heal the Earth.
Take A Virtual Tour
DIVERSEartLA 2021
The 2021 edition of DIVERSEartLA, curated by Marisa Caichiolo, will focus on the presence, contributions, research and documentation of women and non- binary artists at the forefront of work at the intersection of art, science and technology represented by guest Museums, Institutions and Not-for-Profit Organizations.
“Science, art and technology are human attempts to understand and describe the world around us. The subjects and methods have different traditions and the intended audiences are different, but I think the motivations and goals are fundamentally the same. I think one of the most primal and innate needs of humans is to understand the world around us, and then share that understanding,” said Caichiolo.
In the field of digital art in the last fifteen years, many artists have been working on materializing the digital information and new media practices by audio or visual means (such as installation works, audio-visual and performances which include technology) in order to grasp the imagination of it; while other artists are aiming to present the concept of ‘signals’ from the perspective of synesthesia: they try to visualize sound signals with the aid of machinery and therefore transform the abstract geometric images into sounds through computer operations.
This wave began in the 1920s, when many artists aimed to create time-based visual works. Although some of the works seemed to embody the technology and innovation, much of it actually originated from the most tangible form of reality, the artist’s surrounding natural environments.
DIVERSEartLA will be an examination and a compilation of material, as well as an exhibition featuring the work of women and non-binary artists who have played a central role in the development of new media practices within art institutions and throughout history. We are also diving into a new period where we’ve had to deal with the breakdown of traditional relationships between the material and the immaterial.
While the cryptographic tokens used to create NFTs, are similar to cryptocurrencies such as BitCoin, the tokens in NFTs aren’t fungible, or interchangeable. So, it’s impossible to exchange one NFT for another, as one could do with currency. It’s often equated to an autograph, but on a digital file. An NFT not only tracks the creator of the artwork, but also the ownership and market value. Because it is securely stored in the blockchain, an NFT is unique and non-interchangeable. Photographs, videos, gifs, audio, and any digital file can be represented as an NFT.
Also check out our DIVERSEartLA Talks series, an online platform where the Museums and Institutions have a space to dialog, and share with the general public their programs in 2021.
