About the exhibition
In ultrasonic mode, the climate crisis is steering the planet into the abyss, ULTRAVERBERATION as verberation in outer space.
An echo of nature, a shadow of the planet out there in space.
The dystopian-fantastical landscape images are situated in the southern hemisphere of the globe. Migrating sand dunes, desiccated coastlines, enchanted pine forests form the scenery of the climate crisis. In it, strangely degenerated hermaphrodites move about, along with snails running on batteries, clitoric flamingos wearing glass helmets, helmeted turtles reminiscent of hand grenades, supersonic mirage-storks, robot-crabs, and a woman with a coral-back immersed in thought. Weeping boulders along other coastlines, a quotidian melancholy that describes, for one, laments, for another, wanting to offer solutions. Can it be done?
Images of landscapes as transparencies for a human-made crisis that is scorching the planet. Models as images that are accessible to the eye strengthen—ironically, sarcastically—the supposed message that then must, in the face of itself, resign because it is committing ruthless exploitation.
A red thread moves the exhibition through the eye of a needle, pulled by snails across the door to the outside, and back to the images by airplane-storks. Thoughts concatenate memories to solutions that would be urging, but the red thread gets lost, loosely dangling in space.
Flora and Fauna purport fluid developments. Snails, mushroom, fantastical plants like the corpse flower that has been transformed into a queer-plant all map out a liquid political point of view towards the overheating, which sketches out dazzling double-balances that make light of the necessary measures to keep the earth from bursting. The hybrid animals represent ecological thinking; bionics is a possible orientation towards nature in order to stop the catastrophe.
The old landscape painting is turned into the present time, sparkling sightings illustrate solutions. There are sparks of future-fluid feminist-political accents pointing into possible directions, even though it appears to be too late. The somewhat fatal mood pulls us into what would be happening soon, if we did not…
The emergence of an intersexual time might stimulate climate policy, in the spirit of transplant-humanism. Plant here represents nature, hence in connection and fusion with nature in the spirit of Donna Haraway.
Lucid paintings of landscapes-in-climate-crisis, in colors scorching the eyes, are no solution, which is why they mostly inspire a kind of planetary survivalist-work.
Sand as equivalent to snow, snow and ice melting, landscapes drying up, silting.
All ambitious sentences that try to save could be silting because we did not want to, after all.
Chills run down the spine of frightened geese in view of our sad toxic work to save the planet.
Beauty is something else, yet a sad reverberation gleams towards an anxious future.
The sun melts inexorably through our lofty climate goals. Soon the sight back to earth from the unconnected space telescope would be but a sound shadow.
The hybrids, as movable pieces of scenery, are entangled; plants/animals have coalesced with humans and the things from civilization, doomed to wage a war they did not want against themselves.
Wars can never get enough. Nature would have solutions.
On the horizon hovers a sea-worth full of hope, finely chiseled theses ready to save the world.
Ultraverberations are humming a deep melancholy that darkens our subconscious.
The images dive deep into all this evil, seeking excuses that, like cerebral bubbles of air, burst on the surface before they can take shape.
Our irreversible conduct on the planet seems to be the knowledge that we do not like to own up to but which clearly contains the great catastrophe within it.
The images picture a future that soon can no longer be that; they look ahead to the reverberations after the blast. It is easier for a camel to go through the eye of a needle than for rich people to solve the climate crisis.
– Anna Meyer 2022
English Translation: Mandana Taban
Regie/DOP: Sebastian Arlamovsky