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  • Geologic Dialogues - Part III UN/making, Un-development

Geologic Dialogues - Part III UN/making, Un-development

  • Thursday, January 18, 2024
  • 12:00 PM - 1:30 PM
  • ZOOM - Mountain Time


  • ecoartspace members plus one guest
  • This event is $5 for non-members

Registration is closed

Geologic Dialogues through May 2024

Part lll - UN/making, Un-development

Thursday, January 18

United States: 9am HST, 11am PST, Noon MST, 1pm CST, 2pm EST

Europe: 19:00 GMT, 20:00 CET

Australia: Friday, January 19, 6:00am AEDT

The Geologic Dialogues series is organized around our recently launched annual online exhibition + printed book, The New Geologic Epoch. For each event, member/artists included in the exhibition who are engaged with similar or complimentary mediums/topics, will present their work. For this third event in January, artists who are unmaking, and doing un-development, monkeywrenching around land use and speculative storytelling about post-industrial landscapes will present their durational and advocating projects. 

Janna Holmstedt & Malin Lobell (p)Art of Biomass, Jill Price, Lauren Bon + Metabolic Studio, and Eliza Evans

Each presenter will have approximately 15 minutes to discuss/present their work, with Q&A to follow.

Gif Images: ©Malin Lobel + (p)Art of Biomass, The Plantationocene Monument, 2021, photograph; ©Jill Price, UNmaking Concrete, 2023, water soluble graphite on handmade seedpaper, soil, water, and sun, approximately 5 x 26 feet; ©Lauren Bon + Metabolic Studio, Un-development 1, 2015-2023, Bending the [Los Angeles] River art project; ©Eliza Evans, All the Way to Hell, 2022, photograph filing the first mineral deed, photo documentation of deed filed, drone still of Oklahoma mineral rights surface, dimension variable.

Member presenters

(p)Art of the Biomass is a Swedish art platform since 2020 initiated by artist Janna Holmstedt & Malin Lobell engaged in artistic co-creation and research that critically and creatively explores how less anthropocentric we-formations could emerge through multispecies encounters with soils, plants, seeds, microbes, bladderwrack, and other critters that make human life possible. Their context sensitive and processual work could be seen as (more-than-human) social sculptures that develop over time. The platform  has been represented through collaborations with  Art museums and free art-organisations mostly in Scandinavia  and is part of the research project Humus economicus, at the National Historical Museums, Sweden, that focuses on human-soil relations at the intersection of urban planning and cultural heritage.  In their contribution to the New Geological Epoch they have been collaborating with Eléonore Fauré, researcher at Lund University and the Climaginaries network. https://humuseconomicus.se  https://partofthebiomass.se/

Dr. Jill Price is an interdisciplinary artist living on the traditional territories of Anishinaabe (Odawa, Ojibwe, Potawatomi) and Wendat Nations in Barrie, Ontario. Sensitive to the interdependent and interacting material entanglements of human and more-than-human bodies, and beings constantly othered through global economic systems of extraction, production, dissemination, and discard, Price, working at the intersection of art, botany, ethics, and aesthetics, recently completed a research-creation PhD in Cultural Studies at Queen's University in Kingston. Looking to UN/make herself from colonial, industrial capitalist and patriarchal networks that create physical and psychological harm, Price's thesis, From Unsettling to UN/making: An Eco-Critical Methodology to Help UN/make Anthropocenic Perspectives and Practices Towards Land, outlines how 'all art is Land art,' as it is from, across, and into the earth all matter travels and investigates how deconstruction, de-alienation, decentring, degrowth, and decolonization are important methods for moving towards gestures of care and repair. www.jillpricestudios.ca

Lauren Bon is an environmental artist from Los Angeles, CA. Her practice, Metabolic Studio, explores self-sustaining and self-diversifying systems of exchange that feed emergent properties that regenerate the life web. Some of her works include: Not A Cornfield, which transformed and revived an industrial brownfield in downtown Los Angeles into a thirty-two-acre cornfield for one agricultural cycle; 100 Mules Walking the Los Angeles Aqueduct, a 240-mile performative action that aimed to reconnect the city of Los Angeles with the source of its water for the centenary of the opening of the Los Angeles Aqueduct. Her studio’s current work, Bending the River, aims to utilize Los Angeles’ first private water right to deliver 106-acre feet of water annually from the LA River to over 50 acres of land in the historic core of downtown LA. This model can be replicated to regenerate the 52-mile LA River, reconnect it to its floodplain and form a citizens’ utility. Metabolic Studio

Eliza Evans experiments with data, archives, and bureaucracy to identify and exploit disconnections and contradictions in social, economic, and ecological systems. She finds the edge conditions where the logic of these systems is vulnerable to pressure and collapse. Her work has been exhibited at the Carnegie Museum of Art in Pittsburgh, the Bronx Museum, Missoula Art Museum, Austin Peay State University, Clarksville TN, Thomas Erben Gallery, New York, NY, Chautauqua Institution, Chautauqua, NY, Edward Hopper House Museum, Nyack, NY, and BRIC, Brooklyn. Her work has appeared in the New York Times, Art in America, Hyperallergic, The Brooklyn Rail, and Dissent Magazine. She is currently a member of NEW INC, the New Museum’s cultural incubator. In 2024 Evans will be an artist in residence at Wavehill in the Bronx and will prepare for an exhibition at the Curb Center, Vanderbilt University in Nashville. Evans has an MFA in visual from SUNY Purchase and an PhD in economic sociology from the University of Texas at Austin. www.allthewaytohell.com

This event is free for members + one guest. $5 for non-members. All participants MUST REGISTER.

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