We live in a time of planetary change affecting each and every one of us. Climate change influences every sphere of life, including thinking about art: the systems of its production and distribution, its social function and its relation to other disciplines, especially science.
The title of the exhibition is drawn from the book The Collapse of Western Civilization: A View from the Future by Naomi Oreskes and Erik M. Conway (2014), where the protagonists from the future date the “period of the penumbra” from the “shadow of anti-intellectualism that fell over the once-Enlightened techno-scientific nations of the Western world during the second half of the twentieth century, preventing them from acting on the scientific knowledge available at the time” and leading to tragedy. We are witnesses to this process: scientific findings have ceased to be regarded as dispositive and do not persuade people to act. As the American writer and historian Ibram X. Kendi wrote in The Atlantic, analysing scepticism about climate change or outright rejection of the threat (climate denialism): “Science becomes belief. Belief becomes science. Everything becomes nothing. Nothing becomes everything. All can believe and disbelieve all. We all can know everything and know nothing. Everyone lives as an expert on every subject.”
Observations by artists are akin to those of scientists, but they typically do not confront viewers with an excess of numbers, soaring bar graphs, or “pornographic” images of poverty and devastation. Art has “strange tools” (Alva Noë, 2015) at its disposal, which we can use to discern “wonders in the heavens and signs on the earth.” When ordinary tools of dialogue and persuasion fail, artists enable an “imaginative leap” by working on the emotions, confronting the incomprehensible and the unknown. As the theoretician of visual culture Nicholas Mirzoeff puts it, we must “unsee” how the past “has taught us to see the world, and begin to imagine a different way to be with what used to be called nature.”
Jonathas de Andrade, Isabelle Andriessen, Rasheed Araeen, Robert Barry, Kasper Bosmans, Boyle Family, Agnieszka Brzeżańska, Dora Budor, Vija Celmins, Center for Land Use Interpretation, Alice Creischer, Czekalska + Golec, Betsy Damon, Tacita Dean, Thierry De Cordier, Agnes Denes, Ines Doujak, Jimmie Durham, Jerzy Fedorowicz, Hamish Fulton, Futurefarmers, Cyprien Gaillard, Simryn Gill, Wanda Gołkowska, Guerrilla Girls, Małgorzata Gurowska, Anna & Lawrence Halprin, Mitsutoshi Hanaga, Suzanne Husky, Ice Stupa Project, INTERPRT, Anja Kanngieser, Karrabing Film Collective, Beom Kim, Frans Krajcberg, Susanne Kriemann, Stefan Krygier, Katalin Ladik, Nicolás Lamas, John Latham, Richard Long, Antje Majewski, Nicholas Mangan, Krzysztof Maniak, Qavavau Manumie, Robert Morris, Shana Moulton & Nick Hallett, Teresa Murak, Peter Nadin & Natsuko Uchino & Aimée Toledano, Bruce Nauman, Nishiko, Isamu Noguchi, OHO, Dennis Oppenheim, Prabhakar Pachpute & Rupali Patil, Maria Pinińska-Bereś, Agnieszka Polska, Ludmiła Popiel, Joanna Rajkowska, Jerzy Rosołowicz, Oscar Santillán, Gerry Schum, Bonnie Ora Sherk, Anna Siekierska, Rudolf Sikora, Magdalena Starska, Irv Teibel, Akira Tsuboi, Maria Waśko, Ryszard Waśko, Lawrence Weiner, Magdalena Więcek, Andrea Zittel.