It’s a global art attack at ‘Back To Earth’ at The Serpentine

As Serpentine galleries opened in London’s Hyde Park in 1970, it became known for its pioneering exhibitions that championed new ideas in contemporary art. This ethos continues to be strong today and for our time Serpentine has turned its thoughts to the climate crisis.

Back to Earthcurated by Rebecca Lewin, is a long-term, interdisciplinary artistic program that aims to “remind us of the fragility of the earth immediately beneath our feet and the planet we depend on.”

At its heart are thought-provoking installations by leading artists on display at Serpentine North (until 18 September 2022). movies; graphic posters; photography; sound installations; sculptural works; large scale; small scale; all immersing; subtly – as if every medium of the art world had come together and exploded within one overarching theme.

As part of the lineup, e.g. Brian Eno created a new sound and light installation arising from his research into generative compositions. While, an artist It is not called Rezaire/Amakaba and arch Yussef Agbo-Ola Studio/Olanii have set out to explore our relationship with medicinal plants. The result is Ikum: Drying Temple – a chapel-like structure made from materials recycled from previous Serpentine exhibitions. It is also decorated with specially woven panels that will eventually be reassembled in a building in Amakaba, Rezaire’s center for agroecology in French Guiana. The multisensory, cocooning space provokes us to remember the healing powers of plants.

Also evoking contemplation is a series of earthen and clay forms from Dineo Seshi Bopape. The artist’s movements and breathing are translated into sound works by an animist and a shaman Katito Tayasu in a collaboration that explores methods of re-engaging with our bodies, lands and ancestors.

Meanwhile, a research-based design studio Formaphantasma presented a manifesto for exhibition-making that minimizes carbon emissions, along with many other artist-designed posters.

There’s something to take in – from an artist Giles Roundmirrored surfaces and shapes based on the satellites that explore environmental changes to a new wallpaper by an artist Carolina Caicedo, which surround the exhibition space. This is a collage of satellite images of waterways that have been shaped by human intervention in the Americas.

There is also a new film commission, The family and the zombie from Karrabing Film Collectivewhich aims to explore the importance of the relationship between land and local communities.

At the Serpentine restaurant The magazine – there’s more work to explore as you tuck into a sustainable new menu from the Turner Prize nominee Cooking sections. While in Kensington Gardens there is a new garden created especially for pollinators – titled Pathmaker pollinator. In fact, Back to Earth will also include an extensive live program over the next two years.

The project features over sixty leading artists, architects, poets, filmmakers, scientists, thinkers and designers – all of whom have given their own response to the environmental crisis.

“Back to Earth is a program for change and a catalyst for change. Calling for a response to the climate emergency and focusing on multiple long-term perspectives from around the world, Back to Earth will reflect how we can learn from different experiences to create change,” says Rebecca Lewin.

To add to your immersive journey, a unique “smell score” by an artist and researcher Sissel Tolaas will evolve in the space and over the course of the exhibition, drawing on the emotional power of our sense of smell to respond to the need for change in response to the climate emergency.

Expanding beyond the exhibition space, nothing is left untouched, including the gallery, which has been transformed through a collaboration between a design and a futures company Superflux and designer Ghazal Vozhdani. They created a “store for the future” that aims to gather knowledge from a group of advisors, offering visitors a selection of books and products that reflect alternative consumption patterns in a changed climate.

Needless to say, sustainability is at the core of the exhibition, p Back to Earth use of existing structures and reuse of materials from disassembled parts of Radio ballads, the previous exhibition, to minimize the construction of waste and rethink the making of exhibitions. Almost all work is produced locally and the inks and papers used in the printed materials are chosen to prioritize recycled processes.

Artistic director Hans Ulrich Obrist has the last word: “There could be no more universal theme than the Earth and the climate crisis we face as natural beings. We are driven by the calls for change and creative solutions that have come to life Back to Earth and I hope they inspire more.”

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