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Ausstellung // AUGMENTED SPECIES - Invasive Sculptures in Hybrid Ecologies



10.09.2021 um 09:00 bis
15.01.2022 um 23:55



Termin übernehmen

Curated by Tina Sauerlaender (peer to space, Berlin) and Ursula Ströbele (Studienzentrum zur Kunst der Moderne und Gegenwart/Zentralinstitut für Kunstgeschichte)
Organized and developed by MoMAR (Damjanski, David Lobser, Monique Baltzer, Vicky Leung)

The relationship between the arts, and what has been called ‘nature‘ as a historic, cultural and scientific concept, has undergone some major shifts. Various theories of post-(human)nature and eco-fiction have become more and more influential during the last decades as is well-known. The term ‘nature‘ itself has been called into question. Ecological theorists, such as Timothy Morton think that we actually live in a post-natural age, proclaiming ecology without nature. Donna Haraway describes entangled multispecies histories, using the term natureculture. These theories include new ways of thinking about established hierarchies, agency and power, as well as difference and ontology.
Leaving behind established dualisms, the exhibition Augmented Species. Invasive Sculptures in Hybrid Ecologies aims to present four contemporary artistic positions working in the field of sculpture, cyber ecology, and eco fiction: Sofia Crespo & Feileacan McCormick, Carla Gannis, Joanna Hoffmann, and Tamiko Thiel. They all deal with new technologies and forms of display, thus developing a site-specific sculptural aesthetics of the living, along with expanded possibilities of the sculptural in the digital age. Their artificial creatures seem to live as post-evolutionary prototypes departing from an augmented ecology. This ecology is less based on mimesis than on speculative, hybrid inventions. Thinking about potential worlds and futures in our post-nature society, the exhibition references traditional sculpture parks, including their specific relationship between surrounding nature, architecture,and the artifact. Contrary to the stasis and durability of classical statues, the digital sculptural interventions occupy the site. This immersion stimulates the overlap and interaction of heterogeneous realities and provokes new contexts of ephemerality, scalability, kinetic plasticity, and tech-based posthumanistic narratives.
The concept of MoMAR, an unauthorized non-profit gallery, is to democratize physical exhibition spaces, museums, and the curation of art within them. The exhibition occupies prestigious museum spaces around the world to connect the concept of eco-fictional shifts to said spaces. This process reestablishes what is called the canon of (art) history while invading physical locations with today’s technological possibilities, questioning institutions and their hierarchies, structures and programmes.


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