Max Hooper Schneider‘s formal training in marine biology and landscape architecture is apparent in his recent installation titled “Hammer Projects.” Schneider’s work features rich landscapes overflowing with colorful natural elements that are interspersed with human objects, like a container of cheese balls, a rusting rifle, and strings of beaded necklaces.
The Hammer Museum describes the Los Angeles-based artist’s work as an attempt to decenter the human experience and challenge assumptions about how and why we classify objects. Through his installations, Schneider explores dichotomous relationships—like the human and nonhuman, construction and destruction, and the political and the personal—that traditionally have informed daily life.
A T-Rex is inhabiting the streets of Paris. Artist Julien Nonnon has given life to extinct creatures in his latest work, “Prehistoric Safari,” by using video-mapping technology to project images of the dinosaurs in the Jardin d’Acclimatation, a long-established Parisian amusement park. Nonnon says the digital art form, which is at the intersection of photography, video, architecture and scenography, has allowed him to produce 17 3D-projections of species that occupied the Cretaceous period. A T-Rex flaunting its yellow eyes and a triceratops brandishing green horns appear at nightfall on building sides in holographic form.
The artist tells Colossal that this project is centered on pop culture and “was inspired by the adventure books of Sir Arthur Conan Doyle, Jules Verne and Michael Crichton, as well as Steven Spielberg’s movies.” In addition to the 3D-projections, Nonnon also directed a mini film titled “Dino Escape,” which depicts a dinosaur invasion of Paris’s streets and includes an interactive quest for audience members to retrieve a T-Rex egg and bring it to present day.
Using scanning electron microscopy and a mix of microscopic, scientific, digital, and manual processes, artist Rob Kesseler develops colored micrographs of the intricate patterns within pollen and seed grains, plant cells, and leaf structures. The highly magnified photographs feature specifics of cellular composition that are undetectable without magnification.
Kesseler tells Colossal that as a child, his father gifted him a microscope, marking a pivotal moment in his creative career. “What the microscope gave me was an unprecedented view of nature, a second vision,” he writes, “and awareness that there existed another world of forms, colours and patterns beyond what I could normally see.” The artist says his use of color is inspired by the time he spends researching and observing, and that just like nature, he employs it to attract attention.
Kesseler calls the intersection between art and science “a process and a product, a morphogenetic synthesis of two expansive cultures and a way of examining the world through a series of filters.” And he has hope for the relationship between the two disciplines, saying, “I like to think we are entering a new age where after a century of separation, artists and scientists are again working together, sharing ideas that reflect our age.”
Currently the chair of Arts, Design and Science at Central Saint Martins, Kesseler also is a fellow of the Linnean Society, the Royal Society of Arts and the Royal Microscopical Society. His most recent work includes a project with journalist Mathew Tucker of the BBC and a collaboration with Dr. Louise Hughes at Oxford Instruments. Both deal with the impacts of climate change on the plant world.
There’s a traffic jam on Miami Beach thanks to Leandro Erlich (previously). Erlich’s installation, titled “Order of Importance,” is an effort to put conversations surrounding climate change front and center. Commissioned by the city of Miami Beach and curated by Ximena Caminos and Brandi Reddick, the installation features 66 life-sized cars and trucks erected on the beach at Lincoln Road. Made of sand, the vehicles blend in with the surrounding beach and highlight the temporary nature of their construction. They will be allowed to deteriorate until the exhibition closes December 15.
“The climate crisis has become an objective problem that requires immediate solutions,” Erlich says. “As an artist, I am in a constant struggle to make people aware of this reality, in particular, the idea that we cannot shrink away from our responsibilities to protect the planet.”
Caminos added that the exhibit, “like an image from a contemporary Pompeii or a future relic, also alludes to our fragile position in the large universal canvas. It interacts with the climate crisis facing the world, particularly the rising sea level.”
Erlich, who resides in Buenos Aires and Montevideo, is known for combining architecture, sculpture, and theater to create surreal works that alter traditional conceptions of natural environments. “Order of Importance” is his largest installation to date. You can find more of his work on Instagram and his site.
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Self-described designer, activist, academic, and author Julia Watson is trying to quash the boundary between native practices and technology in a new book that explores the ways indigenous wisdom can combat the high-tech approach to design and fighting climate change. In Lo—TEK Design by Radical Indigenism, Watson shares knowledge that transcends generations and cultures in an attempt to debunk the myth that indigenous approaches are primitive and far removed from current conceptions of technology. Throughout its more than 400 pages, the book explores ideas from 20 countries, including Peru, the Philippines, Tanzania, Kenya, Iran, Iraq, India, and Indonesia, about how to tackle more sustainable technology and design. It also contains a forward from anthropologist Wade Davis.
Watson founded Julia Watson Studio, an urban design studio, in addition to co-founding “A Future Studio,” described as a collective of conscious designers. She also teaches urban design at Harvard and Columbia University. Lo—TEK is scheduled to be released this month by Taschen. If you liked this, check out the recently published Primitive Technology: A Survivalist’s Guide to Building Tools, Shelters, and More in the Wild.
Pedro Reyes is showing how an object used for harm can be molded into one that promotes life in a project titled “Palas por Pistolas.” Reyes, who originally is from Mexico City, collected 1,527 guns from the Culiacán area in Mexico. The project offered those who gave up their weapons, which were steamrolled publicly and melted, an exchange for a coupon that allowed them to buy electronics and appliances. Reyes used materials from the weapons to create shovels that were then used for planting trees. Since its completion, public schools and art institutions—from the Vancouver Art Gallery to the San Francisco Art Institute to the Maison Rouge in Paris—have received the shovels for community members to use. We have previously marveled at Reyes’ projects involving guns turned into instruments. Find more of Reyes’s work here. (via Intelligent Living)