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Curator Hans Den Hartog Jager

The exhibition consists of new work by Marianna Simnett, Charles Avery, Mercedes Azpilicueta, Diana Scherer, Erik van Lieshout, Augustas Serapinas, Isa van Lier, Jakob Kudsk Steensen, Kasper Bosmans, Renzo Martens / CATPC, Alexandra Pirici and Em’kal Eyongakpa.

https://arcadia.frl/en/projecten/paradys/?cn-reloaded=1 

ARCADIAN ORANJEWOUD

Oranjewoud is a classical idyll, created by the Frisian Nassaus. It is a meticulously proportioned outdoor pleasure dome and a product of the idea that nature can be tamed and paradise manufactured. Precisely because Oranjewoud is not a neutral location, it offers artists the perfect opportunity to push against the world, to question and disrupt it. Some of the artworks in Paradys enhance the location’s beauty and poignancy, others provide a context or a history. Other works ask where all this came from. This means that Paradys deals with major, contemporary issues. Is it still possible nowadays to create an ideal world? For whom is that world intended? And most of all: what does that world look like?


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https://www.biennaleofsydney.art/

Entanglement, 2022  soil, seed, grass roots, timber   

Commissioned by the Biennale of Sydney with generous support from the Goethe-Institut Australia and with generous assistance from Mondriaan Fund and the Embassy of the Kingdom of the Netherlands in Australia 

In a laboratory-like set up, visitors are invited to see Diana Scherer at work as she undertakes what she refers to as “collaborations with nature” growing networks of roots into unique patterns of woven textile. Known by neurobiologists as the brain of plants, Scherer draws attention to roots as active intelligent agents in the process of producing living fabrics.            

Scherer is particularly fascinated by the hidden systems of plants. Her project Entanglement looks at xylem vessels, the tissue responsible for transportation of water through plants. Examining closely the interdependence of plants and water, the pattern Scherer creates with the roots is inspired by the forms of the xylem vessels in plant anatomy. The emergence of these water vessels in plants is considered one of the most important evolutions in the life of plants. Taking geometric and ordering principles and patterns from nature, Scherer poses a dilemma as her craft is both a manipulation of natural processes and possible cultivation of a joint path together.                  

“A root navigates, knows what is up and down, perceives gravity and can locate moisture and chemicals. Roots are incredibly strong. In their search for food and space they fight for every space they can find. I use this strength to create my work. I expose the subterranean life and natural network turns into a textile-like material. The dynamism of the plant makes it seem as if the work is making itself.

I have learned to deal with the autonomy of nature. Despite my intervention, the outcome is unpredictable every time. The interaction of control and letting go is an important element in my work.” – Diana Scherer


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The Intelligence of Plants

16.10.2021 — 30.01.2022

With the exhibition The Intelligence of Plants, the Frankfurter Kunstverein wants to once again contribute to the debate about the Anthropocene: what new understanding of plant life have we humans gained, and what conclusions can we draw from this knowledge. If plants were the first living beings on the planet, they have proven to have developed successful methods to sustain themselves over millions of years despite the five past occurrences of species extinction.

Curator Franzisca Nori

Artists: Berlinde de Bruyckere, Diana Scherer, Nicola Toffolini a.o.

 https://www.fkv.de/en/exhibition/die-intelligenz-der-pflanzen/.   

mhttps://m.youtube.com/watch?v=VnDHKxDcB9E


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Hyper Rhizome


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Harvest Performance


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Material Research


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Material experiment TU Deft


Hyper Rhizome

Solo Show – Droog Gallery Amsterdam – 6 January 2020 – 30 March 2020

With Hyper Rhizome, Diana Scherer presents a selection of works from plantrootweaving, alongside scientific research and growing objects. Through her installations, photographs and botany Scherer examines the boundaries between plant culture and plant nature. What does “natural” mean in the Anthropocene and is man not also nature or a parasitic species on the rest of his environment? In order to realize her ideas she collaborates with biologists, engineers from TU Delft and Radboud University Nijmegen.  Scherer applies the intelligence of plants in her work and makes the hidden world visible. With Exercises in Rootsystem Domestication the natural network of the roots turns into an artificial textile.  She approaches the root system as if it were  yarn and analyze the various appearances. For example, the refined, white root structure of grass reminds her of silk and the powerful, yellowish strands of the daisy she compares to wool. Scherer combines her interest in plant science with textile craft. She brings together her research in weaving techniques with the strength of nature.

The patterns Scherer applies in her work reflect her interest in hybrid forms. She combines the geometric and ordering principles of nature with basic man-made patterns from her surroundings such as a doormat or bubble wrap. The construction and ordering principles of nature is the theory that assumes that the same elements and patterns keep coming back in every plant and consist of a geometric order.

The exhibition is kindly supported by BankGiro Loterij Fonds, Mondriaan Fonds, Fonds Kwadraat, Radboud University Nijmegen, TU Delft

 https://www.tracymetz.nl/2020/02/05/diana-scherers-kunstwerken-van-levend-textiel/


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ECODATA


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 The National Library of Letland / Riga  8.10. – 20. 11. 2020

Curators Yvonne Volkart, Rasa Smite, Raitis Smits.

ECODATA aim is to explore the ‘ecosystematic perspective’. More than just rising awareness that living organisms are highly interdependent on each other and their environments, this year’s festival edition aims to reveal a web of connections that interweaves biological, social and techno-scientific systems, living and digital data, artistic and scientific approaches.  ECODATA exhibition is the central axis of the festival, which forms the rest of the program, made in collaboration with Ecodata–Ecomedia–Ecoaesthetics” research group led by researcher and theorist Yvonne VOLKART, (Basel, Switzerland). The purpose of this exhibition is to bridge the gap between technological and ecological as well as to incorporate technological issues into ecological art. This year’s exhibition will feature twenty artworks by internationally acknowledged artists working in the field of media art, science and ecology.

http://rixc.org/en/home___/0/rixc-art-and-science-festival-ekodati-is-approaching-the-program-and-participants-are-announced/


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Gare Saint Sauveur Lille

Curator: Lidewij Edelkoort &Philip Fimmano

 The past decade has seen a turning point in our relationship with materials, from design to manufacturing, with materials gradually reclaiming their central role in the creative process and beginning to dictate form rather than simply adapt to it. The exhibition explores the power of materials, which use the sense of touch to convey emotion and energy. It draws on the so-called ​“neo-materialist” movement, which reasserts the centuries-old beliefs that materials have their own force and exude an energy that people can genuinely feel.


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 21 -23 September 2018 Amsterdam

https://unseenamsterdam.com