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Lucy Raven, Untitled, 2021, Shadowgram; Silver gelatin contact print

Susan Walsh, Wind Drawings, 
Beacon, NY #14,
Charcoal powder, wind, 2018, Arches paper, 22x30”

L'encyclopédie Diderot et d'Alembert: Gravure et sculpture, 2001,  Bibliothèque de l’Image, Inter-Livres


Dennis Oppenheim, Reading Position for Second Degree Burn, 1970, 216 x 152 cm, Colour photography and collage text, IMMA Collection: Donated by the artist, 2001

“I filled a red plastic mop bucket with water from the pond, and dipped my underwater camera into this pond water prior to making portraits of the Dudelange residents. Later on I also dipped the prints into the pond itself, so microscopic life was also transferred onto the surface of the paper.”

- Stephen Gill

Alison Rosssiter, Gevaert Gevarto 47, exact expiration date unknown, ca. 1960s, processed 2019 (#74), 2019, Four Gelatin Silver Prints, 31.1 × 25.4 cm

Raphael Hefti, Lycopodium, 2014, 700 x 390 cm, Photogram on color photopaper using the gently burning spores of Lycopodium moss.

The Voice of the Ancient Bard

Youth of delight, come hither
And see the opening morn,
Image of thruth new born
Doubt is fled & clouds of reason,
Dark disputes & artful teazing.
Folly is an endless maze,
Tangled roots perplex her ways.
How many have fallen there!
And feel they know what but care;
And wish to lead others when they shoud be led.

- William Blake

Funkedelic, Good thoughts, Bad Thought, Album: Standing on the Verge of Getting It On, Released in 1974

In December 2013 the Royal Belgian Institute for Natural Sciences (RBINS) and the European Maritime Safety Agency (EMSA) have signed a cooperation agreement to jointly develop and operate an operational service that will compute backward and forward trajectories of oil spills detected in North Sea and allow their visualisation.



[Chorus 1]
We are the earth intruders
We are the earth intruders
Muddy with twigs and branches

[Pre-Chorus 1]

[Chorus 2]
Here come the earth intruders
We are the paratroopers
Stampede of sharp shooters
Come straight from voodoo

[Verse 1]
With our feet thumping
With our feet marching
Grinding skeptics
Into the soil

[Pre-Chorus 2]
Shower of goodness coming to
End the doubt pouring over
Shower of goodness coming to end

[Chorus 3]
We are the earth intruders
We are the sharp shooters
Flock of parachuters
Necessary voodoo

I have guided my bones through some voltage
And love them still
And love them too

[Pre-Chorus 3]
Feel the speed

[Chorus 3]
We are the earth intruders
We are the sharp shooters
Flock of parachuters
Necessary voodoo

[Verse 2]
There is turmoil out there
Carnage, rambling
What is to do but dig
Dig bones out of earth

[Pre-Chorus 4]
Mud graves
Morbid trenches

[Chorus 4]
Here come the earth intruders
There'll be no resistance
We are the canoneerers
Necessary voodoo

[Chorus 1]
We are the earth intruders
We are the earth intruders
Muddy with twigs and branches

- Björk

“Life is not just about matter and how it immediately interacts with itself but also how that matter interacts in interconnected systems that include organisms in their separately perceiving worlds – worlds that are necessarily incomplete, even for scientists and philosophers who, like there objects of study, form only a tiny part of the giant perhaps infinite universe they observe”

(Dorian Sagan, A Foray into the Worlds of Animals and Humans, with a Theory of Meaning, 1934)

︎︎︎Vinciane Despret in conversation with Tomás Saraceno

Susanne Kriemann, Falsche Kamille, Wilde Möhre, Bitterkraut, 2016, photogram and silkscreen with plants and clay dust on handmade paper, framed, 180 x 220 cm, unique

Kriemann identified and harvested the three weeds most capable of extracting and storing their environmental pollutants. The substantial traces of metals found in the plants — lanthanum, gadolinium, germanium, uranium, mercury, lead, nickel, zinc, aluminium, copper and others — are also important raw materials in the manufacture of smart phones: photosynthesis, in these plants, fixes the same chemicals that are now used by millions of us to fix light as photographic images.
Argus Panoptes         (All-seeing; Ancient Greek: Ἄργος Πανόπτης)

Why did the atomic bomb dropped on Hiroshima leave shadows of people etched on sidewalks?

Dries Segers, Blue Waters, 2018, Cyanotype on cotton.

Ask your hands to know the things they hold

- Kae Tempest

Graphology : drawing from automatism and automation explores the varied technologies of visualisation that allow for a particular tension between the hand and the medium, between automatism and automation.

Editors : Edwin Carels (Curator M HKA) & Kate Macfarlane (Director The Drawing Room).

Graphology explores a genealogy of automated drawing from a contemporary perspective. The scope of the exhibition reaches back to the beginning of the 20th century and includes artists working today to question the status and impact of a trace, produced through the interaction of man and machine. Under investigation are the techniques that translate direct experience into different forms of systematised representation, between the trace and the sign, between writing and drawing. Graphology investigates the ways in which drawing intersects with typography, photography, film and computer-graphics.
Graphology, 2012, 18.5 x 13.4 cm, 95p., English, publisher: Museum van Hedendaagse Kunst Antwerpen/The Drawing Room, London/MER. Paper Kunsthalle vzw, Ghent, ISBN 9780955829956

The Pitch Drop Experiment



  • relating to things in the environment that are not living
  • physical rather than biological; not derived from living organisms."abiotic chemical reactions"
    • devoid of life; sterile.

#temperature #lightintensity #humidity #wind #sunlight #water #minerals #light #air #soil #climate #atmosphere #pH #salinity


  • involving, caused by, or relating to living things in the environment:
  • relating to or resulting from living organisms."biotic interactions"
  • living things

#bacteria #virus #animals #plats #fungus #animals #humans #archaea #protists

Sanne Vaassen, After Landscape, alcohol, metal, plastic bottles, 220x80x80cm, 2021

Dries Segers, Kirlian Leaf, 2022, unfinshed project

Kirlian photography is a way to create images of coronal discharges around an object. A coronal discharge is an electrical discharge caused by the ionization of gas or fluid surrounding an object. This technique is also used in paranoramal science.

Markus Krottendorfer, Untitled; of the series Phantom of the Poles, 2022, 30x40cm, Framed C-print

A Little Girl Lost

Children of the future age,
Reading this indignant page,
Know that in a former time
Love, sweet love, was thought a crime.

In the age of gold,
Free from winter's cold,
Youth and maiden bright,
To the holy light,
Naked in the sunny beams delight.

Once a youthful pair,
Filled with softest care,
Met in garden bright
Where the holy light
Had just removed the curtains of the night.

Then, in rising day,
On the grass they play;
Parents were afar,
Strangers came not near,
And the maiden soon forgot her fear.

Tired with kisses sweet,
They agree to meet
When the silent sleep
Waves o'er heaven's deep,
And the weary tired wanderers weep.

To her father white
Came the maiden bright;
But his loving look,
Like the holy book
All her tender limbs with terror shook.

'Ona, pale and weak,
To thy father speak!
Oh the trembling fear!
Oh the dismal care
That shakes the blossoms of my hoary hair!'

- William Blake

New materialist scholars use ‘matter’ as their focal point and searchlight. Zooming in on the matter of ecology, economy, politics, technology and art, these scholars move away from a framework of representation.

Stenciled handprints and wall paintings dating back 10,000 years, some of the earliest forms of cave art.

Cueva de las Manos is named for the hundreds of paintings of hands stenciled, in multiple collages, on the rock walls. The art was created in several waves between 7,300 BC and 700 AD, during the Archaic period of pre-Columbian South America. The age of the paintings was calculated from the remains of bone pipes used for spraying the paint on the wall of the cave to create the artwork, radiocarbon dating of the artwork, and stratigraphic dating.


- Donna Harraway

Tomás Saraceno, Printed Matter(s), 2018

Printed Matter(s) is a series of photo giclée prints made with an ink of black carbon PM2.5 pollution sequestered from the air in Mumbai, printed on eight-gram handmade paper. These prints reproduce images of cosmic dust from a 1982 special issue of the NASA Cosmic Dust Catalog, entangling the celestial and the terrestrial, the cosmic and the atmospheric. An approximated 40,000 tons of interplanetary dust falls to the surface of Earth every year; a speck of cosmic material touches every person every day everywhere around the world. In these prints, the material with which the air has been poisoned becomes a tool for the air to communicate, reminding us of its ever-present agency even in the face of efforts to destroy it. 

Tomás Saraceno, Hybrid Webs, seen in Palais de Tokyo, 2017


  • Mining Photography; The Ecological Footprint of Image Production, (ed.) Boaz Levin, Esther Ruelfs, Tulga Beyerle, 2022, Spector Books

  • Inadvertent Images : A History of Photographic ApparitionsPeter Geimer, 2018, University of Chicago Press

  • Revelations, Experiments in Photography, Ben Burbridge, 2015, MACK & Media Space


  • Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene, Anna Tsing, Heather Swanson, Elaine Gan & Nils Bubandt (ed.), 2017, University of Minnesota Press

  • The Mushroom at the End of the World; On the Possibility of Life in Capitalist Ruins, Anna Lowenhaupt Tsing, 2015, Princeton University Press

  • Down to Earth; Politics in the New Climatic Regime, Bruno Latour 2018, Polity Press

  • Meeting the Universe Halfway, Karen Barad, 2007, Duke University Press*

Category:Being Biotic

  • Cambio, FORMAFANTASMA, 2020, Serpentine Galleries and Koënig Books

  • On the Necessity of Gardening: An ABC of Art, Botany and Cultivation, Laurie Cluitmans, 2021, Valiz (in collaboration with Centraal Museum, Utrecht)


Ernest Thompson Seton, “Code for Smoke Signals.” Illustration from Seton’s The Birch Bark Roll of Woodcraft: The Twentieth Edition of the Manual for Boys and Girls from 4 to 94 (New York: Brieger Press, 1925).

Patricia Dauder, Weater Sticks, 2018, 60 pigmented ceramic elements Dimensions variable

Weather Sticks are a group of 60 elements of pigmented ceramic - ranging from 25 to 75 cm long and 1.5 to 5 cm wide - of thin elongated stick-shaped forms. The pieces were baked at low temperature to preserve clay’s porosity so that they would react to an specific environment, absorbing its humidity.

The “sticks” were partly half-buried in the ground of a courtyard in Cuenca. The weather changes during that time got “imprinted” on the ceramic surface, leaving some visible permanent marks like darker spots and sinuous lines.

Podcast: FONS ÀUDIO #35. Patricia Dauder Radio Web MACBA (RWM) is an online radio project based at MACBA Museu d’Art Contemporani de Barcelona. A radio-beyond-radio that dwells in the folds and intersections of critical thinking, contemporary art, artistic research, activism, knowledge transfer, sound… and everything in between.


Extreme heat wave sparks wildfires in parts of Europe, july 2022, © Damira Kalajzic

What artists do is open different portals. Art shows us the ways in which material can be modelled, shifted, transformed. 

- Otobong Nkanga

Kristof Vrancken, Hunger of the Pine I, 2021

Spending the War Without You,
Norton Lecture series with Laurie Anderson, 2021, Harvard University Department of Music

Patricia Dauder, Chamer, 2015 Pencil on fabric 227 x 156 cm

Chambers is one of the textiles that was kept undersoil for a period of time in an empty plot. The fabric was buried with a series of objects on top of it, that left big marks on its surface, when unearthed. The organic components in the soil and the temperature variations during two months, made a drawing of their own on the fabric. This “accidental” drawing was partially re-drawn by erasing some parts with bleach and completing others with graphite pencil.

Ask your hands to know the things they hold ︎