This edition of Sedimenta explores artistic practices and what it means to belong to both geologic and human times scales in the south and southwest desert border regions in North America.
This explains Sedimenta’s online existence. There would be nothing to present if not for the hundreds of hours researching, writing, editing, and translating the therein housed essays, interviews, and exhibition and book reviews.
TABLE OF CONTENTS
Isabelle Hayeur. Mississippi 02, 2013 from Underworlds |
The Nevada Museum of Art’s exhibition Unsettled provides us with a new geography called the Greater West, which invites a reimagining of the globe’s orientation.
Monsters are spawns of entanglement, and ghosts are indexes of a historical haunting. In a kind of Kuhnian way, discovery starts with the aberrant. For Arts of Living, it is ground zero for the strange and its sensible materiality.
The process of composition is part a feedback loop and part system of accretion. Through artistic and historical intervention, the information therefrom metonymically expands into discursive and visual knowledge.
Ericka Flórez and Juan Francisco Maldonaldo create spaces that transform themselves from objects to territories.
Like a rock layer forcing destratification of older layers, the Intercalations series de-centers the human in discursive, museum, and ecological networks, allays the historical power of colonial science and ideology, and sets the foundation for sylvan knowledge potentials.
Sedimenta‘s editor-in-chief Lily Brewer interviews Hayeur, a Montreal-based landscape photographer and videographer.
The Carnegie Museum of Natural History introduced this exhibit at the ICOM Natural History Conference from the 22 to 25 October 2017. They start with: What the heck is the Anthropocene?
For Imperceptible and Slowly Opening, Curator Caroline Picard convenes artists and authors that observe, document, or participate in the inaccessible subjectivities of plants and their relationship with the world.