curatingcuriosities

[curatingcuriosities]

The Globalization of Plants

The “invasive plant” Japanese knotweed cocktail made for the occasion of “The Globalization of Plants” panel discussion at Tenderpixel last night. Why do distinctions made between native and invasive plant species often mirror, evoke or amplify hostile attitudes to human migrants? Can we move beyond the human-centered symbolism in speaking of moving plants? 

Great conversations with fellow speakers and audiences☺️It’s always rewarding when everyone — including myself of course — gets to go home feeling excited with new understandings of the world. Thank you Maja Fowkes, Reuben Fowkes, Borbala Soos, and Michael Smythe for the curation and eye-opening chats.

By the way, the knotweed was originally smuggled out of Japan from the island of Dejima in the late Edo-period Japan by the German physicist Philipp Siebold to the Netherlands, sent to the Kew Garden in London and then spread out across Europe and the North America (Tsing, In., Line Marie Thorsen ed., “Moving Plants” 2017). The estimated cost of eradication of this “weed” around the globe has exceeded £1.8 trillion (Cooking Sections “Empire Remains Shop” 2018).

[curatingcuriosities]

The Globalisation of Plants

Slavs and Tatars, Dunjas, Donyas, Dinias, 2012, fibreglass, steel, 52 × 30 × 25 cm. Installation view at CAC, Vilnius, 2017. Photo by Andrej Vasilenko.

- curated by Maja and Reuben Fowkes Cooking Sections, Eiko Honda, Michael Smythe Saturday, 6 October 2018, 4.30 – 8pm Tenderpixel London

An afternoon of botanic interactions on the ecological realities of travelling plants and the emotional reactions that vegetal migration provokes in zealous circles. Why do distinctions made between native and invasive plant species often mirror, evoke or amplify hostile attitudes to human migrants? How have artists and writers sought to unearth the entangled natural and cultural histories that overlay societal attitudes towards the mobility of the plant world? Should ecologically-beneficial visitors be treated as welcome guests rather than alien intruders? And in the light of anthropogenic climate change, is it incumbent on us to make space for vegetal refugees from native environments that are turning hostile?

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Schedule 4.30pm – Workshop‍ with Maja and Reuben Fowkes (Participation is free, but numbers are limited, >>> PLEASE BOOK HERE <<<) 6.30pm – Panel discussion with Michael Smythe (artist and creative director of Nomad Projects), Eiko Honda (curator and researcher Oxford University), Maja and Reuben Fowkes (curators and art historians, Translocal Institute), with a delegated intervention by Cooking Sections (artists Daniel Fernández Pascual and Alon Schwabe).     (Free attendance, no booking necessary.)

Cooking Sections (Daniel Fernández Pascual & Alon Schwabe) is a duo of spatial practitioners based out of London. It was born to explore the systems that organise the WORLD through FOOD. Using installation, performance, mapping and video, their research-based practice explores the overlapping boundaries between visual arts, architecture and geopolitics. http://www.cooking-sections.com/

Michael Smythe is an artist and creative director of Nomad Projects (www.nomadprojects.org), a vehicle for action-based research within the public realm. Recent projects include Urban Mind (www.urbanmind.info) exploring the relationship between mental health & the urban landscape and Phytology (www.phytology.org.uk) an urban medicine garden and cultural institute for inter-disciplinary research across the arts, sciences and humanities.

Eiko Honda is a PhD researcher in transnational intellectual history, writer and curator. Her academic work investigates non-Cartesian intellectual and cultural histories of nature in Europe and Japan and their relevance to the creative practice of knowledge today. She previously worked as a curator and writer of contemporary art and ideas that conjoins arts and sciences in the context of global history. http://curatingcuriosities.tumblr.com/

Maja and Reuben Fowkes are art historians, curators and co-directors of the Translocal Institute for Contemporary Art, an independent research platform focussing on the art history of Central Europe and contemporary ecological practices. Their curatorial projects include the Anthropocene Experimental Reading Room, the Danube River School, and they are founders of the Environmental Arts and Humanities Initiative at Central European University Budapest. They lead the research project Confrontations: Sessions in East European Art History at the Institute of Advanced Studies of University College London. www.translocal.org

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The OEHN is delighted to announce the Michaelmas lecture.

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BBC Radio 3, Free Thinking: Japan and Nature

Tue 24 Apr 2018, 22:00

Photographer Mika Ninagawa talks to Christopher Harding about the artificiality of her images of cherry blossoms. A plane crash in the mountains is explored in the new novel Seventeen from Hideo Yokoyama, translated by Louise Heal Kawai. And presenter Anne McElvoy is also joined by Eiko Honda from the University of Oxford and Professor Stephen Dodd from SOAS, the University of London for an exploration of the way nature has been depicted across the decades in Japanese writing and political thought.

Seventeen by Hideo Yokoyama translated by Louise Heal Kawai is out in English now.

Producer: Robyn Read

Main Image: detail from "MIKA NINAGAWA", Museum of Contemporary Art, Taipei, Taiwan, 2016 (c)mika ninagawa.

https://www.bbc.co.uk/programmes/b0b01n2j

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Writing Histories in the Era of the Anthropocene? Graduate Workshop on New Approaches to Environmental History

University of Oxford, 22 May 2018 

What role should contemporary environment and climate sciences play in the writing of history? How do contemporary environmental discourses affect historical accounts? And should historians and natural scientists cooperate in their scientific research? 

These questions will stand at the heart of our discussions in the first graduate workshop organised by the Oxford Environmental History Network (OEHN) and led by Professor John Brooke (Ohio State University). 

Professor Brooke’s work is at the forefront of histories engaging with the concept of the Anthropocene. His most recent book, Climate Change and the Course of Global History: A Rough Journey (Cambridge University Press, 2014), examines the long material and natural history of the human condition. 

Rather than presenting formal papers, this half-day workshop will be discussion based. It will involve engaging with a pre-circulated reading list, which will form the basis of a conversation relating broad theoretical ideas with participants’ own research projects. 

To apply for the workshop, which will be held at the University of Oxford on Tuesday May 22nd, please send an abstract of maximum 300 words to oehn@history.ox.ac.uk. The abstract should include a brief description of your project, the reason you are interested in participating in the workshop and 2-3 questions you are keen to explore in relation to the workshop themes. 

The workshop is open to graduate students of any discipline within and outside Oxford. Unfortunately travel costs to Oxford cannot be subsidised but the participation fee will be covered. The deadline for applications is April 13th. A reading list will be sent to successful applicants by April 20th-27th.

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Rethinking Environmental Praxis, Disciplinarity, and Subjectivity -- New Perspectives on the Anthropocene in East Asia

Research colloquium – Thursday, Feb 15, 2018, 1pm-5pm at the Research Institute of Humanities and Nature, Kyoto

The Anthropocene is a recently proposed definition of the new geological epoch. That it is the name of the geological time means that the time of the Anthropocene covers the entire globe. But how can the whole Earth be covered by one epoch? Even if so, how is human subjectivity and experience measured and evaluated in this time duration? The way how human subjectivity and self exist differently from culture to culture. On the one hand, the concept of the Anthropocene is hallmarked by the concept of nature/culture divide developed in western civilization. Seen under the light of the East Asian experience, however, it can be defined in another way. There might (or must) be another (or plural) environmental subjectivity in this globe; To think about the Anthropocene is to re-think about “our” idea of the environment in multiple places.

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Thrilled to launch the Oxford Environmental History Network -- a cross-disciplinary research platform at the University of Oxford.

Environmental historians often belong to different departments and faculties, and at Oxford, they are yet to share a sub-institutional affiliation. Hence, they are not always informed of relevant work done by their colleagues within the same University. The OEHN fills this gap and connects researchers working in environmental history to foster intellectual cross-pollination.

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Pleased to announce the programme for this international workshop!

Fri, 27/10/2017 - 08:45 to Sat, 28/10/2017 - 13:10 The Fellows Dining Room, Hilda Besse Building, St. Antony's College University of Oxford Registration is free but essential: https://goo.gl/7XKJsS How does research on Japan inform ecological practice that is pertinent beyond the framework of Area Studies, and vice versa? If we were to place nature at the core of our studies of human activities, what new kinds of interdisciplinarity and knowledge would be possible, and how would we reorganize our academic disciplines? This international workshop brings together Postgraduates and Early Career Researchers within the Humanities for an inter-disciplinary discussion with guidance from established scholars and practitioners. Further Information: https://ecologiesknowledgeandpractice.wordpress.com/ Speakers Heuishilja Chang, DPhil candidate, School of Geography and the Environment, University of Oxford; Chiara Comastri, MSc student (2016/2017), Modern Japanese Studies at Nissan Institute of Japanese Studies, University of Oxford; Philippe Depairon, PhD candidate, Department of History, Université de Montréal; Dr Alice Freeman, Research and Teaching Associate, the Nissan Institute of Japanese Studies, University of Oxford; Dr Isabelle Giraudou, Associate Professor, Organization for Programs on Environmental Sciences, Graduate School of Arts and Sciences, University of Tokyo; Eiko Honda, DPhil candidate, Faculty of History, University of Oxford; Dr Stefan Huebner, Research Fellow, Asia Research Institute, National University of Singapore; Julia Mariko Jacoby, PhD candidate, University of Freiburg / Pre-doctoral Fellow, the Anthropocene Project, Max Planck Institute for the History of Science; Dr Pia Jolliffe, Research Scholar, Las Casas Institute for Social Justice, Blackfriars Hall, University of Oxford; Dr Mateja Kovacic, Research Associate, the Urban Institute, University of Sheffield; Jo McCallum, PhD candidate, Digital Craft, the University of the Arts London; Camille Sineau, MRes student, Social Anthropology, University of Aberdeen, Scotland; Eiko Soga, MSc student, Modern Japanese Studies at Nissan Institute of Japanese Studies, University of Oxford; Line Marie Thorsen, PhD candidate, History of Art, Aarhus University / Associated PhD, Aarhus University Research on the Anthropocene (AURA) and Changing Disasters at Copenhagen University, Denmark; Mariko Yoshida, PhD candidate, Crawford School of Public Policy, Australian National University; Jason Waite, DPhil candidate, Ruskin School of Art, University of Oxford; Dr Julius Weitzdoerfer & Dr Tatsuya Amano, Postdoctoral Research Associates, the Centre for the Study of Existential Risk, University of Cambridge　 Discussants Russell Beard, Environmental Journalist and Filmmaker, Al Jazeera; Dr Ele Carpenter, Senior Lecturer in Curating, Department of Art, Goldsmiths, University of London; Associate Curator with Arts Catalyst, London, and Bildmuseet, Sweden; Dr Sho Konishi, Associate Professor in Modern Japanese History, Faculty of History and the Nissan Institute of Japanese Studies, University of Oxford; Dr Jamie Lorimer, Associate Professor in the School of Geography and the Environment at the University of Oxford; Dr Mikiko Shinoki, Professor of Sociology, Chuo University, Japan / Visiting Scholar at St. Antony’s College, University of Oxford; Jenny White, Head of Visual Arts Programme, British Council

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Delighted to announce Call for Papers for this workshop, co-organised by Dr Alice Freeman [Research and Teaching Associate, the Nissan Institute for Japanese Studies] and yours truly.  CALL FOR PAPERS Ecologies of Knowledge and Practice: Japanese Studies and the Environmental Humanities A day-and-a-half Workshop and Roundtable for UK Postgraduates and Early Career Researchers in the Humanities St Antony’s College, University of Oxford, 27th and 28th October 2017 https://ecologiesknowledgeandpractice.wordpress.com/ Disciplines including and not limited to History, Art, Architecture, Literature, Geography, Theology, Sociology, Politics, Economics and Anthropology. *Scholars from outside the UK are welcome to apply if they are able to fund their own transportation. Supported by the Antonian Fund, Japan Foundation London, and Nissan Institute of Japanese Studies In Partnership with TORCH | The Oxford Research Centre in the Humanities

THE WORKSHOP How does research on Japan inform ecological practice that is pertinent beyond the framework of Area Studies, and vice versa? If we were to place nature at the core of our studies of human activities, what new kinds of interdisciplinarity and knowledge would be possible, and how would we reorganise our academic disciplines? This workshop invites individual papers from UK-based Postgraduates and Early Career Researchers within the Humanities for an inter-disciplinary discussion with guidance from established scholars and practitioners.

In today’s world of planetary-scale environmental crises, intellectuals are increasingly urged to cultivate a symbiosis between knowledge and practice and to engage with each other beyond disciplinary divides. Historically, Japan has claimed a uniquely harmonious relationship with nature. Yet this cultural rhetoric of ecology has faced challenges for its apparent discordance with the reality of environmental destruction in Japan.

The field of Japanese Studies outside Japan has also been criticized: on the one hand, for exoticizing Japan as a unique “other”, yet conversely, for forcing Japan into a hegemonic model of universal (Western) modernity. While such ideological controversies are ongoing, the study of Japan in the twenty-first century is becoming increasingly and inescapably intertwined with the rise of global environmental problems such as climate change, nuclear catastrophe, deforestation and threats to marine life. The challenges of Eco-criticism follow hot on the heels of the politics of still-prevailing Orientalism.

In the rapidly changing academic and atmospheric climates of the twenty-first century, the career paths of current graduates and early career researchers are likely to follow very different trajectories to those of our seniors. The workshop seeks to open a dialogue among this emerging generation of Japan scholars in the UK concerning how the production of knowledge of Japan may be linked to new forms of engagement with contemporary ecological concerns. The workshop aims thereby to facilitate crucial professionalization and cohort-building among postgraduates and early career researchers of Japanese Studies in the UK. 

CALL FOR PAPERS We invite proposals for papers of 20 minutes concerning the above issues within Japanese Studies in relation to the Environmental Humanities. For example:

•          How can academic research be combined with practices of engagement with ecological issues in and beyond Japan? Are these two objectives even compatible?

•          What contribution could Japanese discourses of ‘Nature’ make to modes of engagement with environmental issues?

•          What can sustainable practices within Japanese material culture offer to the transnational world?

•          How is ecological knowledge organised within Japanese socio-political networks, and what is the role of the researcher in mediating between these networks and the wider world?

•          How do people’s lived experiences of the triple disasters of 3.11, and increased fear of nuclear power generation, affect approaches to intellectual enquiry?

Please send abstracts of c. 300 words, together with a brief biography of c. 150 words, to: ecologies.knowledgeandpractice@gmail.com by 31st August. All selected participants will be asked to circulate their papers internally by 10th October and to familiarise themselves with co-participants’ work prior to the workshop. 

The presenters will be asked to submit a short critical reflection on the ideas discussed following the end of the workshop.

FUNDING Participants are requested to seek their own sources of funding initially. If funding cannot be obtained from the participant’s home institution, transport and accommodation costs will be partially covered by the generous support from St Antony’s College Antonian Fund and Japan Foundation London. For more information on confirmed discussants and future plans, please visit: https://ecologiesknowledgeandpractice.wordpress.com/

Contact: ecologies.knowledgeandpractice@gmail.com 

[curatingcuriosities]

ARTIST TALK: Toshiaki Hicosaka in conversation with Sunil Manghani

Tuesday 4th July, 6-8pm The Daiwa Anglo-Japanese Foundation, London The artist Toshiaki Hicosaka will be joined in conversation by Sunil Manghani, Professor of Theory, Practice and Critique at the Winchester School of Art, University of Southampton, on the occasion of his first solo exhibition in the UK. They will be discussing how Hicosaka has approached painterly practice as a phenomenological medium, through a variety of his past and present works. See the exhibition review on the Art Asia Pacific Magazine:http://artasiapacific.com/Magazine/WebExclusives/ToLookAtTheFire Booking: https://goo.gl/FX8bkv

…they see only their own shadows, or the shadows of one another, which the fire throws on the opposite wall of the cave… [Socrates in dialogue with Glaucon] – Plato, The Republic 380 BCE The first London solo exhibition of the artist Toshiaki Hicosaka invites us to reflect on the world through fire: the driver of evolution, life, comfort and violence. From ocean to fire, his immersive installations of painting have embraced elements of the everyday. He perceives them as a medium that unravels our changing perception on the lived temporalities of the past and present. Fire has mesmerised scientists, artists, and philosophers who sought to understand our relationship to the world. In France, 1826, the glaring sunlight was the catalyst for the inventor Nicéphore Niépce’s creation of photography, driven by his desire to draw without using his own hands. In Japan, 1872, people were impressed by the brightness of imported British gas lamps, exclaiming “This is civilization..!” Nowadays, digital imagery of fire adorns the fireplaces of households, supplementing the warmth felt in our imagination. These instances show how our understanding of this universal natural phenomenon has shifted with our comprehension of the phisycal world throughout the human history. Here, fire reveals itself to viewers as a medium of perceptual relations. Through this new body of work by the artist, viewers are invited to reflect on the social and cultural environment that they live within. --- The exhibition is curated by Eiko Honda. With thanks to the Zabludowicz Collection for the equipment support. Sponsored by Shiseido Group

[curatingcuriosities]

To Look at the Fire

Image: Installation view at POLA MUSEUM ANNEX, Tokyo, 2017 © Toshiaki Hicosaka To Look at the Fire A Solo Exhibition of Toshiaki Hicosaka 31 May -- 10 July 2017 The Daiwa Anglo-Japanese Foundation 13/14 Cornwall Terrace Outer Circle (entrance facing Regent's Park) London NW1 4QP Private View: Tuesday 30 May 2017 6:00pm – 8:00pm Free, Booking Required from HERE

Organised by the Daiwa Anglo-Japanese Foundation Curated by Eiko Honda

…they see only their own shadows, or the shadows of one another, which the fire throws on the opposite wall of the cave…

[Socrates in dialogue with Glaucon] –  Plato, The Republic 380 BCE

The first London solo exhibition of the artist Toshiaki Hicosaka invites us to reflect on the world through fire: the driver of evolution, life, comfort and violence. From ocean to fire, his immersive installations of painting have embraced elements of the everyday. He perceives them as a medium that unravels our changing perception on the lived temporalities of the past and present.

Fire has mesmerised scientists, artists, and philosophers who sought to understand our relationship to the world. In France, 1826, the glaring sunlight was the catalyst for the inventor Nicéphore Niépce’s creation of photography, driven by his desire to draw without using his own hands. In Japan, 1872, people were impressed by the brightness of imported British gas lamps, exclaiming “This is civilization..!” Nowadays, digital imagery of fire adorns the fireplaces of households, supplementing the warmth felt in our imagination. These instances show how our understanding of this universal natural phenomenon has shifted with our comprehension of the phisycal world throughout the human history.

Here, fire reveals itself to viewers as a medium of perceptual relations. Through this new body of work by the artist, viewers are invited to reflect on the social and cultural environment that they live within.

Supported by

With thanks to the Zabludowicz Collection for the equipment support.

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To Pick Up the Shadow - A Photography Workshop by Toshiaki Hicosaka

Wednesday 5 April 2017 6.50pm The Daiwa Anglo-Japanese Foundation Free, Booking required. *This event is now fully booked Photography captures images of the world through the use of light. Could the shadows also create a visual experience – one that does not appear under the light?

This workshop invites you to take photos in central London at night using a unique and somewhat unorthodox method. The existence of light is essential for photography, much as it is for seeing the world with the naked eye. This is true even for photo shoots that take place in the evening, where typically natural light is supplemented by the use of a flash function.

Workshop participants are asked to bring their own digital camera that has a flash function. The artist Toshiaki Hicosaka will provide you with his original analogue device that can be attached to the flashlight, which creates a shadow in the midst of light. In this type of photography, imagery is brought forward through darkness instead of brightness.

The artist will exhibit selected photographs from the workshop as part of his forthcoming solo exhibition will open on 30 May 2017 at the Daiwa Anglo-Japanese Foundation in London. The exhibition and related programmes are curated by Eiko Honda. Supported by 

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Thanks Jamie Sutcliffe for the heartfelt review! Always a great pleasure to be part of an intellectual symbiosis.

[curatingcuriosities]

THINGS THAT MEANS THINGS

THINGS THAT MEANS THINGS: A LIFETIME OF COLLECTING MEMORIES The artist Saya Kubota and I met Bryan Payne (pictured), a former General Post Office and British Telecom worker, on one summer day in 2015 at the store tour of the Postal Museum in the east end London. We were researching the history of the British postal service, in our preparation for Saya’s participatory artwork The Missing Post Office UK. Bryan was taken there by his daughter Laura as his birthday surprise. He noticed my GPO briefcase I was carrying (yes, as a fashion!), approached me and said: “I used to use that bag!” That was the start of our many conversations over memories and objects. After a pub meeting and several email correspondences, Saya and I managed to convince Bryan to become the MPO UK’s postmaster. Every time we met, Bryan told us his fascinating stories behind objects he collected -- including the memorabilia of his time working for the GPO and BT. One day he said to us that he would like to set up a blog on objects he collected throughout his life -- although seemingly mundane, they meant something. “We all collect this and that and over a lifetime the numbers add up! Tucked away in drawers, boxes and pockets are many treasures of little monetary value that mean a great deal to the owner. We have, since childhood, found small objects alluring.  As a child (perhaps four or five) I can just remember being on holiday with my Mum & Dad in Wales and picking up a fossil from the beach – what a find. And of course I still have it today! The collecting bug follows us throughout our lives. This is about some of my obscure odds and ends, in no particular order, garnered over many, many years! Some found and others given. All treasured.” And here’s his blog! Heartfelt writing and museological photography. This is one of the loveliest online ‘museums’ of private histories. Please visit: https://thingsthatmeanthings.wordpress.com/

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アーティストの彦坂敏昭さんがアートフェア東京 [3月16-19日] のポーラ美術振興財団ブースにて、昨年アイスランドで制作された「波のスケッチの新聞」を展示されます。これに合わせて、同作品に想いを馳せながら二人で共同執筆した短論考「波のスケッチの新聞 テクノスフィア -- グローバリゼーションの淵にて --」を日英でA2サイズのポスターとして刷って下さいました。250部限定でお持ち帰り頂けます。是非お誘い合わせの上いらして下さい。 デジタル版はこちらのリンクからもダウンロードして頂けます。https://goo.gl/DHhSXW アートフェア東京: https://artfairtokyo.com/

The artist Toshiaki Hicosaka will be exhibiting his work 'Newspaper Sketches of Ocean Waves' (2016) at the POLA Art Foundation booth of the Art Fair Tokyo [16-19 March]. For this occasion, they kindly created 250 edition of free-to-take-home A2 size posters of our co-authored short essay 'Newspaper Sketches of Ocean Waves: The Technosphere at the Edge of Globalization' in Japanese and English. Please stop by if you happen to be in Tokyo then. The digital version is downloadable from here: https://goo.gl/DHhSXW More on ART FAIR TOKYO: https://artfairtokyo.com/

The English version was originally published on the online archive of the Haus der Kulturen der Welt on their Anthropocene Curriculum Campus: http://www.anthropocene-curriculum.org/pages/root/campus-2016/co-evolutionary-perspectives-on-the-technosphere/newspaper-sketches-of-ocean-waves/

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BOOK LAUNCH

One for the spring calender. Looking forward to talking with Ele Carpenter who edited this important book. Please join us (if you are not bored of me chatting!) 「核」の文化的考察をまとめたNuclear Culture Source Bookローンチにて、エディターでありキュレーターのエリー・カーペンターさんと対談します。同書籍に含まれた錚々たるアーティスト作品と(私以外は)著名な学者群の思考を通して開かれる視点の数々について議論できればと思っています。私は黒澤明とニナ・フィッシャー+マロアン・エル・サニの映像作品を通じて、現代蔓延る核に対する恐怖と主権の前に存在する主観、そして日本の���法哲学翻訳史に想いを巡らせる論考「原子的主観性について」を寄稿させていただきました。少し先ですが、お誘い合わせの上是非いらしてください。いつもお世話になっている大和日英基金さんのイベントです。 Tuesday 4 April 6-8pm 13/14 Cornwall Terrace, Outer Circle (entrance facing Regent's Park), London NW1 4QP Organised by the Daiwa Anglo-Japanese Foundation Free, booking required. ▶︎ http://www.dajf.org.uk/event/the-nuclear-culture-source-book The Nuclear Culture Source Book is a resource and introduction to nuclear culture, one of the most urgent themes within contemporary art and society, charting the ways in which art and philosophy contribute to a cultural understanding of the nuclear. In this talk, Ele Carpenter and Eiko Honda will bring together contemporary art and ideas investigating the nuclear Anthropocene, nuclear sites and materiality, along with important questions of radiological inheritance, nuclear modernity and the philosophical concept of radiation as a hyperobject. This book is the result of four years research into art and nuclear culture by Ele Carpenter as part of a collaboration with Arts Catalyst, which included artistic and curatorial research in Japan supported by the Daiwa Foundation, npo S-Air, Bildmuseet, Arts Council England, and Goldsmiths University of London. The book is published by Black Dog Publishing, Bildmuseet and Arts Catalyst, and is edited by Ele Carpenter. Contributing Writers Peter C van Wyck; Gabrielle Hecht; Timothy Morton; Jahnavi Phalkey; Noi Sawaragi; Eiko Honda; Susan Schuppli; Victor Gama; Di McDonald and Nicola Triscott. Contributing Artists James Acord; Shuji Akagi; Lise Autogena and Joshua Portway; Erich Berger; Chim↑Pom; Thomson & Craighead; Nick Crowe and Ian Rawlinson; Gair Dunlop; emptyset; Merilyn Fairskye; Nina Fischer and Maroan el Sani; Victor Gama; Joy Garnett; Giuliano Garonzi; Grand Guignol Mirai; Dave Griffiths; Annie Grove-White; Helen Grove-White; Isao Hashimoto; Hilda Hellström; Cornelia Hesse-Honegger; Hollington and Kyprianou; Martin Howse; Pierre Huyghe; Ai Ikeda; Robert Jacobs and Mick Broderick; Miyamoto Katsuhiro; Yoi Kawakubo; Bridget Kennedy; Yves Klein; Erika Kobayashi; Karen Kramer; Sandra Lahire; Jessica Lloyd-Jones; Veronika Lukasova; David Mabb; Cécile Massart; Eva and Franco Mattes; William Morris; Yoshinori Niwa; Takashi Noguchi; Chris Oakley; Uriel Orlow; Trevor Paglen; Yelena Popova; Monica Ross; Susan Schuppli; Taryn Simon; smudge studio; Isabella Streffen; Shimpei Takeda; Nobuaki Takekawa; Kota Takeuchi; Mika Taanila and Jussi Eerola; Robin Tarbet; Suzanne Treister; Alana Tyson; Mark Aerial Waller; Andy Weir; Jane and Louise Wilson; Louise K Wilson; and Ken + Julia Yonetani.

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The Anthropocene and Our Post-natural Future

Our articles are now available online.  http://www.anthropocene-curriculum.org/pages/root/exchange/the-anthropocene-and-our-post-natural-future/ >The Anthropocene and Our Post-natural Future< [edited by Andrew Yang, Osamu Sakura, Shin Mizukoshi, and Yoshitaka Mori] -- Talking around the Anthropocene by Andrew Yang and Osamu Sakura -- "Planetary" Knowledge? Moving Beyond Internationalism by Eiko Honda -- Minus Risk Equals Progress: the Data Center in the Anthropocene by Mél Hogan -- Anthropocene and Transhumanism by Augustin Berque, commented by Yu Inutsuka