Everywhere we turn, we find a territory of nonhuman things. It is impossible to escape the trace of others—from material structures (plants, machines, animals and objects) to those all but invisible bodies outside the bounds of human perception (atoms, molecules, pollution, viruses, satellites, planets, etc.). To further explore a line of research established by its affiliated reading group Following Nonhuman Kinds, The Green Lantern Press presents a juried screening with cinematic examples of the subjective potential of nonhuman kinds.
1. Himali Singh Soin (in collaboration with Dario Villanueva), “The Particle and the Wave” (12:47)
2. Chloë Brown, “Dialogue: Panthera Leo” (3:16)
3. Laura Aish, “The Machine”, (5:14)
4. Laura Cinti “Nanomagnetic Plants” (1:55)
5. Peter Matthews, “The Ocean Moves Through It” (11:34)
6. Matthew C. Wilson, “Forecast” (2:52)
7. Quiet ensemble, “Orienta” (2:45)
8. Sonia Levy, “I Roam” (3:16)
9. Max Stocklosa, “More World Material”(15:32)
10. localStyle, “Chew”, (3:33)
11. Gillian Wylde, “A as in Animal” (2:46)
12. NEOZOON, “BUCK FEVER” (5:54)
13. NEOZOON, “MY BBY 8L3W” (3:03)
14. Linda Tegg, “Sheep Actress” (2:58)
15. Filip Kwaitkowski, “Tiera” (2:47)
16. Chloë Brown & Ines Lechleitner, “The Hum” (3:19)
17. Smriti Mehra, “Authanakoota (Banquet)” (13:58)
About the Participants:
Laura Aish is an emerging experimental filmmaker and sound artist based in the Southwest of the UK. Her work utilizes a multidisciplinary approach, often exploring intersections between filmmaking, sound design and performance practice. She is particularly interested with notions surrounding experience and the production of meaning, as well as the process of editing in both sound and film. |
Chloë Brown is an artist and Senior Lecturer/Course Leader in Fine Art at Sheffield Hallam University. She has an MA in Sculpture from Chelsea College of Art, London (1994),and a BA in Fine Art from the University of Reading (1987). She has exhibited widely internationally and from 1995 to 2013 she was a member of The Research Group for Artists Publications (RGAP). |
Dr Laura Cinti is an award-winning research-based artist working with biology, co-founder and co-director of C-LAB—a transdisciplinary bio art collective and organization. C-LAB has been invited to range of international conferences, exhibitions and continues to contribute in publications to broker discussions on the intersections of art and science. Laura has been involved in art projects, exhibitions and workshops with support from the European Commission, scientific institutes, pharmaceutical companies, councils, universities, cultural institutes and commercial partners. Laura has a PhD from UCL (Slade School of Fine Art in interdisciplinary capacity with UCL Centre of Biomedical Imaging), a Masters in Interactive Media: Critical Theory & Practice (Distinction) from Goldsmiths College, University of London and BA (Hons) Fine Art (First Class) from University of Hertfordshire. |
Filip Kwiatkowski was born in Warsaw, Poland and grew up in New York City. After working as a photographer for several years he received his MFA from Art Center College of Design in 2013. He recently completed a fellowship at the Academy of Media Arts Cologne. Filip lives and works in Los Angeles, California.|
Sonia Levy is a French artist living in London. After graduating from Villa Arson, École des Beaux–Art de Nice she undertook a post-graduate course in moving images at École Nationale Supérieure des Arts Décoratifs in Paris. Her practice operates at the intersection of art and the natural sciences, and focuses mainly on the nonhumans – nonhuman animals and inorganic others. Currently she is in North-Iceland, hosted by the Húsavík Cetaceans Research Centre at the University of Iceland, working on a project that explores and interrogates human relationships to whales through their residual bones. |
The collaborative localStyle was founded in Amsterdam in 2000 by Marlena Novak and Jay Alan Yim. Using high and low tech means, their intermedia practice includes video, sound installation, interactive installations, live performance with electronics, and audience participation. Their projects explore how territories and boundaries—whether physical or intangible—are constructed, interpreted, and negotiated, via themes as varied as issues of trespass, the mating behavior of hermaphroditic marine flatworms, the sonification of electric fish from the Amazon, and experimental Eurasian blackbird grammar. These works have been presented in festivals, museums, galleries, and alternative venues in more than three dozen cities worldwide (a.o. Amsterdam, Amersfoort, Barcelona, Beijing, Belgrade, Berlin, Boston, Brussels, Budapest, Camden, Chicago, Cologne, Duluth, Eindhoven, Den Haag, Huddersfield, Jerusalem, Linz, London, Mexico City, New York, the Orkney Islands, Richmond, Santa Barbara, Santa Fe, São Paolo, Sarasota, Shanghai, Sittard, Sydney, Szczecin, Tel Aviv, Torino, Toronto, Valencia, and Warsaw). Festival presentations have included the National Art Museum of China’s (NAMOC) TransLife Triennial, STRP Festival, Visioni dal Futuro, Taipei Digital Art Festival and others. Recent projects have been presented in Amsterdam’s Amstelpark, the Muziekgebouw aan ‘t IJ, Caochangdi, Chicago, London, and Shanghai.
Peter Matthews works in solitude in the Pacific and Atlantic Oceans. His work explores a contemporary human relationship with the landscape which often sees him working directly in the ocean for hours at a time. His works on paper are typically identified as a scrawling matrix of dynamic layers of lines and text which attempts to record what is to be human in a world which, behind him on dry land, is rapidly changing and living out of synch with nature. His work has been shown in numerous group exhibitions which explore notions of time, place, space, the landscape. Matthews has shown his work at the Drawing Center, NY, the Pratt Manhattan Gallery, NY, the North Carolina Museum of Contemporary Art, the Künstlerhaus Dortmund, Germany and the Forum Factory, Berlin among others museums and galleries. He has had solo shows at the James Cohan Gallery, NY, Mendes Wood DM, Sao Paulo and Beers London, London, UK. Peter Matthews reached his BA Fine Art and MFA from the Nottingham Trent University, England. |
Smriti Mehra is a video artist who lives and works in Bangalore, India. She completed her MFA in Media Art from NSCAD University in Canada with a scholarship from the AAUW Educational Foundation. She is presently an artist-in-residence at the Centre for Experimental Media Art and she also teaches at the Srishti School of Art, Design and Technology where she studied as an undergraduate. Smriti’s more recent pre-occupation has been with flowers and tracing their journeys. In doing so she uncovers the economic, aesthetic, emotional and transcendental spaces they occupy. The trail also acquaints us with the plethora of people whose hands they pass through and their rituals of labour. Her video works have played at many festivals including ‘Voices from the Waters’ in Bangalore, ‘The Images Festival’ and ‘Monitor’ in Toronto, the ‘Made in Video’ festival in Denmark and ‘Images De l Inde’ at the Centre Pompidou in France. |
NEOZOON, founded 2009 is a female art collective based in Germany and France. |
The research of Quiet ensemble goes through the observation of the balance between chaos and control, nature and technology, creating subjects that perfectly merges the those elements, elements that take form from the relation of organic and artificial subjects, moving the attention to insignificant and wonderful elements, like the movement of a fly or the sound of trees. The interest is connected to those technologies that explores the aesthetic and conceptual possibilities deriving from interactivity techniques, approaching the newest technological discoveries as if they would be the tools for creation, like the brush for the painter. Working on the relation between time and space, sound and image the work of Quiet ensemble changes and develops in time, relating to the space, changing it. Emphasizing the unexpected events, refuting the apparent immobility of shapes and melting the appearing opposition of forces in nature. Concrete and abstract shapes are sectioned and remodeled in hybrid forms and balances, parallel giving great importance to the pure aesthetics of forms. Quiet ensemble is born in 2009 from the meeting between Fabio Di Salvo | Bernardo Vercelli. |
Himali Singh Soin is a collective that utilizes the word in various mediums. As a poet, she renders language in space and often beyond the page. Her work has been published in journals and anthologies worldwide, including The Yellow Nib, published by the Seamus Heaney Centre for Poetry, Prairie Schooner, Eclectica among others. She has self-published a book of poems supported by The India Foundation for the Arts. As a literary curator, she has constructed shows around literary traditions such as the Oulipo and the practice of writing aesthetic manifestos. As a critic, she writes for Artforum, Bomb, Artslant, Vogue and Take on Art among others. Selected credits as a text artist include Hoax Journal online, Kona and Devi Art Foundation in Delhi and forthcoming at Ha Ha Gallery, Sector 2337 and Bucharest Art Week. She will be at the ICA in Moscow this autumn on a space mission. |
Max Stocklosa was born and bred in the former East Berlin. Studied art at the UDK Berlin and Emily Carr University, Vancouver. 2006 Co-founder of the publishing collective AKV Berlin. 2012 Co-founder of the research group STRATAGRIDS. In 2012 a residency at the Center For Land Use Interpretation was executed. In 2014 he took part in the Anthropocene project at HKW Berlin as well as the Anthropocene Curriculum. |
Linda Tegg’s work investigates the contingent viewing conditions through which we orient our place in the world. Often mixing direct experience with its representation, Tegg investigates how we arrive at our understanding of the natural and the artificial. The Artist was the Samstag Scholar of 2014, The Georges Mora Foundation Fellow of 2012 and has been the recipient of numerous Australia Council for the Arts and Arts Victoria Grants. She has degrees from The University of Melbourne and RMIT University and is currently an MFA candidate at the School of the Art Institute of Chicago. Recent Solo exhibitions include; Grasslands, The State Library of Victoria, Melbourne, 2014; Choir, WestSpace, Melbourne 2014; Coexistence, MARSO Galleria, Mexico City, 2012. Selected group exhibitions include; Don’t Talk to Strangers, Random Institute, New York, 2014 and NEW13, Australian Centre for Contemporary Art, Melbourne, 2013. |
Gillian Wylde makes performative work for video and installation. Central to her work is a critical engagement with new technologies and the mediated. Processes of appropriation and post-production are constants through most of the work like perhaps a savage smell or hairy logic. Gillian Wylde is an artist and Senior Lecturer at Falmouth University, UK. |
Matthew C. Wilson is an artist based in New York who works in a variety of media including installation, sculpture, video, and site specific action. His work distills constellations extracted from entwined natural, historical, cultural, and economic processes. Wilson received an MFA in Visual Arts from Columbia University, has been a fellow in the Whitney Museum of American Art’s Independent Study Program, and participated in residencies at the Skowhegan School of Painting and Sculpture and Fondazione Antonio Ratti’s CSAV – Artists Research Laboratory, among others. He is currently working on a long-term collaborative project in association with Jan Van Eyck Academie (Maastricht, NL), Leiden University (Leiden, NL), and the German Archaeological Institute (Berlin, DE).
About the Jurors:
In 1995 Giovanni Aloi obtained his first degree in Fine Art – Theory and Practice, in Milan and moved to London in 1997 where he furthered his studies in Visual Cultures (MA) at Goldsmiths University of London. From 1999 to 2004 he worked at Whitechapel Art Gallery and as a film programmer at Prince Charles Cinema in London whilst continuing to work as freelance photographer. Today he is a Lecturer in History of Art and Visual Cultures at the School of the Art Institute of Chicago, Sotheby’s Institute of Art London and New York, and Tate Galleries. He lectures on subjects of modern and contemporary art with an emphasis on the representation of nature and animals. In 2006, he founded Antennae, the Journal of Nature in Visual Culture of which he is Editor in Chief. Counting thousands of readers around the world, the Journal is today the international reference point for the debate on animals in the arts. (www.antennae.org.uk) Aloi completed his PhD on ‘taxidermy in contemporary art’ at Goldsmiths University of London in 2014. Art & Animals, his first book part of the series ‘Art &…’ by IB Tauris, was published in November 2011.
Kathleen Kelley is a PhD candidate in philosophy at the New School for Social Research. Her dissertation, Automatism is a Humanism, uses Stanley Cavell’s philosophy to reimagine the status of medium and modernism for current practices. She is also a visiting instructor at Pratt Institute, where she teaches classes on aesthetics, photography, and animals. She lives in Brooklyn with one human, two animals, and six plants.
Trevor Perri received a PhD in philosophy from the University of Leuven in Belgium in 2013. His research has primarily focused on theories of habit, memory, imagination, and art in nineteenth- and twentieth-century continental philosophy. He currently teaches philosophy courses at Loyola University Chicago and works as Associate Editor at The Green Lantern Press.
Caroline Picard is the Executive Director of The Green Lantern Press, and Co-Director of Sector 2337.