Composting Knowledge at “lumbung: documenta fifteen” 18 June – 25 September 2022

Its participants are active in the creation of such actions through their own unique perspectives that embrace cooperative, non-hierarchical, neighborhood centered principles. Composting Knowledge aims to build a supporting system for these initiatives to cooperate in engaging and critical ways.

Currently the composting network reunites over twenty participants from Kassel, Tokyo, Sofia, Holualoa, Singapore, Beirut, Zurich, Toronto, Stockholm, and London, who are engaging with own capacity and pace in the spread, research and activation of the topics exchanged within the network by challenging their own practice, involving local communities and institutional partners.

The network is growing. Current members are:

  • Färgfabriken, Stockholm
  • Global Art Practice, Tokyo University of the Arts, Tokyo
  • ICA-Sofia, Sofia
  • James Jack & Donkey Mill Art Center, Hawai’i
  • Myvillages, Rural School of Economics, London/Rotterdam/Berlin
  • YCAR (York Center for Asian Research), Toronto
  • Dorothee Richter, Ronald Kolb: OnCurating.org & Postgraduate Programme in Curating, ZHdK
  • knowbotiqs, Zurich
  • Sandra Schäfer, Joseph Rustom, and students, Akademie der Bildenden Künste, Munich and Académie Libanaise des Beaux Arts, Beirut

Quote by ruangrupa:

“Composting is growing. It’s a process which calls for a change in our understanding of the subject of knowledge, an uncontrolled mutation of ingredients, which transcend a cartesian or logical system in the production of experiences, and facts but instead transform every material collected in fertile soil for our community. As the water is part of every living being and primal, juicy engine for the rotting activity, so the compostable transformation is nourished by every idea, intervention, activity and contribution by withdrawing from disciplines and one-sided knowledge and expertise forms. Each person is welcomed to participate as a cultivator, contributing with awareness to a multi-ingredients compostable practice. The material for a florid mixture is brought from friends, are those guests, one-time visitors, students, researchers, from all corners of the globe, each one will be a grower and harvester of an abundant, yet non-definable knowledge pot. For the shared growth of yet unknown knowledgeable terrains we invite you to contribute to this compost pot.”

bacilli collective “Dirt Restaurant” opening at Setouchi Triennale 2022

Setouchi Dirt Restaurant

bacilli

(James Jack, Shotaro Yoshino & Yoshitaka Nanjo)

Fall 2022

A new artwork based on storied flavors of dirt on Takamijima with research on Megijima, Shodoshima and other islands in Setouchi. Video release scheduled for summer triennial season and artwork debut in fall season, stay tuned for additional details on the Setouchi Triennale website and YouTube channel.

作品No. [E17]

bacilli

瀬戸内の「土」を味わう

土の研究や土食文化の発信をおこなう南条嘉毅、James Jack、吉野祥太郎によるコレクティブが構想中の、瀬戸内の「土」を食べる前代未聞のプロジェクトを紹介するイベントを開催。

※詳細は決まり次第HPにてお知らせします

https://www1.setouchi-artfest.jp/en/artworks-artists/artworks/takamijima/465.html 

“Making Kin—Worlds Becoming” Center for Humans and Nature Chicago

Making Kin—Worlds Becoming

What makes you and me an us, and not them? There must be some things deeply shared—and yet something also distinct at the same time. It is a relation defined by its own relativity. How does kinship happen so that they may come to be we?

In her 2015 book Staying with the Trouble: Making Kin in the Chthulucene, feminist cultural theorist Donna Haraway offered a provocative slogan as part of her layered and expansive proposal for kinship: “Make Kin, Not Babies.” Despite the statement’s complications, there is a powerful claim that comes through—that kinship is not a given quality but instead an emergent one. By inverting the conventional logic that prioritizes heredity over other forms of relationship, Haraway’s statement asserts that familial connections are in fact made, not born. Becoming kin is not automatic but rather an extended process of attention, perseverance, and care among humans and non humans.

The artists (and scientists) in this exhibition all express this sense of kin-making in diverse ways. Through their practices, they not only aspire to form new bonds and new intimacies with human and non human others, they are committed to making that endeavor visible beyond themselves through art. Their kin-making is of a double nature—one that actively nurtures novel connections between themselves and the people, lands, snails, goldfish, viruses, aliens, traditions, trees, chickens, and planets that they engage, as well as a making that seeks new connections with the audiences who engage their work. At a time of unprecedented planetary change and threats to biodiversity, re-establishing these connections has never been more critical.  From compassion springs action, and as Buddhist writer Pema Chödrön observes, true compassion emerges in, “realizing our kinship with all beings.”

I see the 24 artists and artworks shared here as kinfolk to the writers and texts found with the book series Kinship: Relations in a World of Belonging, which inspired this exhibition. The themes that make up the five volumes of Kinship—Planet, Place, Partners, Persons, and Practice—are the same ones explored here. The intention is that they inform each other as part of the same conceptual family. One thing that I find so compelling about these artists and their practices is that they speak directly to—and at the same time exceed—those five categories, indeed much as any given written piece within the Kinship series extends beyond its own volume. In expressing a sense of and rather than or, these artworks, poems, and essays offer promiscuous possibilities of emerging relations as well as the wonders, understandings, and complications they entail.  — AY

View the 24 artists and artworks https://humansandnatureart.com/