{"id":1024,"date":"2020-03-15T10:15:18","date_gmt":"2020-03-15T09:15:18","guid":{"rendered":"https:\/\/sisume.com\/?post_type=portfolio&p=1024"},"modified":"2024-12-06T10:03:18","modified_gmt":"2024-12-06T09:03:18","slug":"ground-control","status":"publish","type":"portfolio","link":"https:\/\/sisume.com\/index.php\/portfolio\/ground-control\/","title":{"rendered":"Ground Control"},"content":{"rendered":"
[vc_row css=”.vc_custom_1604938251105{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md” el_class=”text-center”]\t
\n\t\t\n

Ground Control<\/span><\/span><\/i><\/h3>\n\t\t\t<\/div>\n\n\t[vc_column_text css=”.vc_custom_1604762331694{padding-top: 0px !important;}”]\n

[Markkontroll]<\/em><\/strong><\/h4>\n[\/vc_column_text][vc_column_text]\n
Artists
\nMaria Thereza Alves
\nGerd Aurell
\nHanan Benammar
\n<\/span><\/strong>C\u00e9line Condorelli
\nSuzanne Husky
\nM\u00f3nica de Miranda<\/span><\/strong><\/h5>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ el_class=”text-center” offset=”vc_hidden-sm vc_hidden-xs”]\t
\n\t\t\n

Ground Control<\/span><\/span><\/i><\/h3>\n\t\t\t<\/div>\n\n\t[vc_column_text css=”.vc_custom_1604762331694{padding-top: 0px !important;}”]\n

[Markkontroll]<\/em><\/strong><\/h4>\n[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n
Artists
\nMaria Thereza Alves
\nGerd Aurell
\nHanan Benammar<\/span><\/strong><\/h5>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text css=””]\n

\nC\u00e9line Condorelli
\nSuzanne Husky
\nM\u00f3nica de Miranda<\/span><\/strong><\/h5>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604937488413{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

The exhibition Ground Control<\/em> explores issues in the intersection of botany, politics and history. By exploring the circulation routes of plants, in the framework of botanical politics, we have put together the exhibition Ground Control<\/em> in an attempt to shift the perception of what is local and natural, and that might actually be imported and constructed. It entices us to reconsider our surroundings beyond borders and understand their political entrenchment. As opposed to ideas of a \u2018pure\u2019 and uncontaminated vegetation, the artworks presented explore plants as witnesses and cultural imports, reflecting the continuous fluxes, frictions and permeations that shape our political, economic and natural environments. The artworks also emphasize visible and invisible imprints left locally on flora, language, knowledge and bodies affected by such circulation.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604937497121{padding-top: 4vh !important;}”][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n

The exhibition Ground Control<\/em> explores issues in the intersection of botany, politics and history. By exploring the circulation routes of plants, in the framework of botanical politics, we have put together the exhibition Ground Control<\/em> in an attempt to shift the perception of what is local and natural, and that might actually be imported and constructed. It entices us to reconsider our surroundings beyond borders and understand their political entrenchment. As opposed to ideas of a \u2018pure\u2019 and uncontaminated vegetation, the artworks presented explore plants as witnesses and cultural imports, reflecting the continuous fluxes, frictions and permeations that shape our political, economic and natural environments. The artworks also emphasize visible and invisible imprints left locally on flora, language, knowledge and bodies affected by such circulation.<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604938352167{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604938315862{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column][\/vc_row][vc_row disable_element=”yes” el_class=”align-center” css=”.vc_custom_1605263021363{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”20px”]\t
\n\t\t\t
\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”20px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column][\/vc_row][vc_row disable_element=”yes” el_class=”align-center” css=”.vc_custom_1605263025619{padding-top: 4vh !important;}”][vc_column width=”1\/2″ css=”.vc_custom_1733474040238{padding-right: 10% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”200px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”40px”][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1733474044856{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-sm vc_hidden-xs”]\t
\n\t\t\t
\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”120px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”50px”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604937597976{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]Plants\u2019 connection to world politics may be exemplified in the history of colonialism. The development of naturalist expeditions were intimately connected to the Western imperial conquest and competition in the 16th\u201318th centuries. The documentation of plants and mapping of territories subsequently led to their occupation and plundering. Botanical gardens had a number of functions in this context. They were hierarchical spaces in which plants from all over the world were labelled, categorised and admired. In the Empires and in their colonies, botanical gardens became strategic power markers, as well as trade opportunities. During the era of imperial competition, plants were transferred from one environment to another, often transiting through or staying in \u2018acclimatisation\u2019 gardens, permanently modifying, sometimes unpredictably, both ecosystems and systems of meanings. In the exhibition, nature as witness to a history of colonization and one of its present day consequences \u2013 the fact that many people are living their lives in diaspora, is portrayed by artist M\u00f3nica de Miranda in her photographs.[\/vc_column_text][vc_column_text]The application of classification and taxonomy brought further consequences. Old names and knowledge were wiped out and flora became objectified \u2013 removed from its original context and displayed in greenhouses, vitrines, cabinets and collections as rarities to be scientifically studied or merely enjoyed, rather than as living agents integrated into people\u2019s routines because of their nutritional, medical, spiritual or magical qualities. Binominal nomenclature represents a will to hierarchize and classify not only nature, but also animals, and sadly humans. The new system of Carl von Linn\u00e9 \u2013 the binomial nomenclature \u2013 eventually became the norm and represented a knowledge valued as encyclopaedic and total, but which mainly one of its present day consequences \u2013 the fact that many people are living their lives in diaspora, oral, ancestral and intuitive knowledge. This resulted in a considerable subsequent loss of indigenous plant knowledge, as highlighted in the exhibition by the artworks of artists Hanan Benammar and Maria Thereza Alves. Several pressing questions emerge: What knowledge is valuable for us today? Is it possible to reactivate or reappropriate the names, usages and teachings of language and plants?[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604937607223{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text]Plants\u2019 connection to world politics may be exemplified in the history of colonialism. The development of naturalist expeditions were intimately connected to the Western imperial conquest and competition in the 16th\u201318th centuries. The documentation of plants and mapping of territories subsequently led to their occupation and plundering. Botanical gardens had a number of functions in this context. They were hierarchical spaces in which plants from all over the world were labelled, categorised and admired. In the Empires and in their colonies, botanical gardens became strategic power markers, as well as trade opportunities. During the era of imperial competition, plants were transferred from one environment to another, often transiting through or staying in \u2018acclimatisation\u2019 gardens, permanently modifying, sometimes unpredictably, both ecosystems and systems of meanings. In the exhibition, nature as witness to a history of colonization and one of its present day consequences \u2013 the fact that many people are living their lives in diaspora, is portrayed by artist M\u00f3nica de Miranda in her photographs.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]The application of classification and taxonomy brought further consequences. Old names and knowledge were wiped out and flora became objectified \u2013 removed from its original context and displayed in greenhouses, vitrines, cabinets and collections as rarities to be scientifically studied or merely enjoyed, rather than as living agents integrated into people\u2019s routines because of their nutritional, medical, spiritual or magical qualities. Binominal nomenclature represents a will to hierarchize and classify not only nature, but also animals, and sadly humans. The new system of Carl von Linn\u00e9 \u2013 the binomial nomenclature \u2013 eventually became the norm and represented a knowledge valued as encyclopaedic and total, but which mainly one of its present day consequences \u2013 the fact that many people are living their lives in diaspora, oral, ancestral and intuitive knowledge. This resulted in a considerable subsequent loss of indigenous plant knowledge, as highlighted in the exhibition by the artworks of artists Hanan Benammar and Maria Thereza Alves. Several pressing questions emerge: What knowledge is valuable for us today? Is it possible to reactivate or reappropriate the names, usages and teachings of language and plants?[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row disable_element=”yes” css=”.vc_custom_1604762477467{padding-bottom: 4vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

Historically, political domination over nature may have started with the emergence of botanical gardens \u2013 hierarchical and artificial spaces where worldwide plants coincide. Their history is deeply embedded in that of Western imperial conquest in the 17th\u201318th century, and is also linked to the development of naturalist expeditions \u2013 mapping territories subsequently occupied and plundered \u2013 and of Carl Linnaeus\u2019 binomial nomenclature in Systema natur\u00e6<\/i> (between 1735-1770). Controlling flora became strategic as plants were seen as power markers as well as trade opportunities. Plants were transferred from one environment to another and circulated widely \u2013 from and between colonies and empires, modifying lastingly, and sometimes unpredictably, biospheres and systems of meaning.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n

The effects of such circulation and classification have left visible and invisible imprints on landscapes, language, bodies and knowledge as highlighted by the exhibition Markkontroll [Ground Control]<\/em>.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604937677814{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]Ground Control<\/em> also focuses on the circulation of plants in the world from the perspective of their commodification, as both desirable ornamental elements for individuals and institutions and as profitable resources for corporations. The increased availability of plants contributed to their use in domestic and public spaces, particularly exotic and tropical species, which signalled social prestige and became choice gifts and adornments for parlours. The exhibition presents C\u00e9line Condorelli\u2019s series of Plant study<\/em> prints that document the histories and qualities of some regular house plants that were formerly used to furnish art exhibitions up until the 1970s and are still commonly found in homes and offices. Retracing the history of display and ornamentation \u2013 the passage of nature from outdoor to indoor as house plants \u2013 suggests that the original significations and usages of plants were further suppressed during this domestication process.[\/vc_column_text][vc_empty_space height=”20px”]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”20px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”20px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”20px”][vc_column_text]Flora made its entrance with great pomp in trade circuits, leading to the development of the horticulture industry we know today. Gerd Aurell\u2019s artworks in the exhibition are the result of her research about how the Swedish forestry industry developed during the 20th century \u2013 including massive clear-cuts and widespread use of the herbicide hormoslyr \u2013 which in hindsight proved to cause both major biodiversity loss in forests and disease among forest rangers and locals. In some cases, the current interest in nature\u2019s economic potential has generated unholy alliances between politics, public authorities and businesses to the detriment of the environment, on many occasions demonstrating the supremacy of capitalism over ecological needs. Artists such as Suzanne Husky consistently remind us that we are all connected to Mother Earth and that the exploitation of land also comes at a price; there is a risk of losing what we hold sacred, and a risk of losing knowledge tied to a particular territory. Sadly, the exploitation of nature is often accompanied by pollution, destruction and disruption of the balance of ecosystems. Against this background, we find it encouraging to engage with artists highlighting regenerative practices and activism to protect our common resources.[\/vc_column_text][vc_empty_space height=”20px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604938190571{padding-top: 4vh !important;}”][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”4vh”][vc_row_inner][vc_column_inner][vc_column_text]Ground Control<\/em> also focuses on the circulation of plants in the world from the perspective of their commodification, as both desirable ornamental elements for individuals and institutions and as profitable resources for corporations. The increased availability of plants contributed to their use in domestic and public spaces, particularly exotic and tropical species, which signalled social prestige and became choice gifts and adornments for parlours. The exhibition presents C\u00e9line Condorelli\u2019s series of Plant study<\/em> prints that document the histories and qualities of some regular house plants that were formerly used to furnish art exhibitions up until the 1970s and are still commonly found in homes and offices. Retracing the history of display and ornamentation \u2013 the passage of nature from outdoor to indoor as house plants \u2013 suggests that the original significations and usages of plants were further suppressed during this domestication process.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”4vh”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”4vh”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”160px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”6vh”][vc_row_inner][vc_column_inner][vc_column_text]Flora made its entrance with great pomp in trade circuits, leading to the development of the horticulture industry we know today. Gerd Aurell\u2019s artworks in the exhibition are the result of her research about how the Swedish forestry industry developed during the 20th century \u2013 including massive clear-cuts and widespread use of the herbicide hormoslyr \u2013 which in hindsight proved to cause both major biodiversity loss in forests and disease among forest rangers and locals. In some cases, the current interest in nature\u2019s economic potential has generated unholy alliances between politics, public authorities and businesses to the detriment of the environment, on many occasions demonstrating the supremacy of capitalism over ecological needs. Artists such as Suzanne Husky consistently remind us that we are all connected to Mother Earth and that the exploitation of land also comes at a price; there is a risk of losing what we hold sacred, and a risk of losing knowledge tied to a particular territory. Sadly, the exploitation of nature is often accompanied by pollution, destruction and disruption of the balance of ecosystems. Against this background, we find it encouraging to engage with artists highlighting regenerative practices and activism to protect our common resources.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”4vh”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”10vh”][vc_row_inner][vc_column_inner][vc_column_text]\n

Bildmuseet, Ume\u00e5<\/span>, Sweden
\n<\/span>September 27, 2020 – April 11, 2021<\/strong><\/span><\/h3>\n

<\/h3>\n[\/vc_column_text]\t\n\t\tTO THEIR WEBSITE<\/span>\n\t\t\t\t<\/a>\n\n\t[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604937774782{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”20px”][vc_column_text]\n

Bildmuseet, Ume\u00e5<\/span>, Sweden
\n<\/span>September 27, 2020 – April 11, 2021<\/strong><\/span><\/h3>\n

<\/h3>\n[\/vc_column_text]\t\n\t\tTO THEIR WEBSITE<\/span>\n\t\t\t\t<\/a>\n\n\t[\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604937808871{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

Sound Excerpts<\/h3>\n[\/vc_column_text][vc_empty_space][vc_column_text]\n

Maria Thereza Alves, Introduction to <\/em>Decolonizing Botany<\/em>, 2020\u00a0<\/strong><\/h4>\n
\n
\n
\n

In Ground Control<\/em>, the artist\u00a0presents three works from her new series. She shows three watercolours and three botanical signs, each accompanied by a plant honouring song sung by a member of the Guarani people from the Jaguapiru Reserve in Dourados, Mato Grosso do Sul, Brazil. Here is an excerpt:<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n\nhttps:\/\/sisume.com\/wp-content\/uploads\/2020\/02\/19-jardin-bot\u00e1nico-burle-marx-19-mp3cut-mp3cut.net_.mp3<\/a><\/audio>\n[\/vc_column_text][vc_column_text]\n

Maria Thereza Alves, Or\u00e9e<\/em>, 2011<\/strong><\/h4>\n

Excerpt from the video Or\u00e9e<\/em> shot in La R\u00e9union in which two actors pronounce the Creole names for some of the island\u2019s endemic plants, revealing their close history with marronnage, and the very different status and value attributed to free white women versus enslaved black women in R\u00e9union\u2019s history:<\/p>\n

 <\/p>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2020\/02\/ALVES-OREE-mp3cut.net_.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604937826529{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n

Sound Excerpts<\/h3>\n[\/vc_column_text][vc_empty_space][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_column_text]\n

Maria Thereza Alves, Introduction to <\/em>Decolonizing Botany<\/em>, 2020\u00a0<\/strong><\/h4>\n
\n
\n
\n

In Ground Control<\/em>, the artist\u00a0presents three works from her new series. She shows three watercolours and three botanical signs, each accompanied by a plant honouring song sung by a member of the Guarani people from the Jaguapiru Reserve in Dourados, Mato Grosso do Sul, Brazil. Here is an excerpt:<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2020\/02\/19-jardin-bot\u00e1nico-burle-marx-19-mp3cut-mp3cut.net_.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_column_text]\n

Maria Thereza Alves, Or\u00e9e<\/em>, 2011<\/strong><\/h4>\n

Excerpt from the video Or\u00e9e<\/em> shot in La R\u00e9union in which two actors pronounce the Creole names for some of the island\u2019s endemic plants, revealing their close history with marronnage, and the very different status and value attributed to free white women versus enslaved black women in R\u00e9union\u2019s history:<\/p>\n

 <\/p>\nhttps:\/\/sisume.com\/wp-content\/uploads\/2020\/02\/ALVES-OREE-mp3cut.net_.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row thb_full_width=”true” thb_row_padding=”true” thb_column_padding=”true” css=”.vc_custom_1604937842536{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”]\t

\n\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\t<\/div>\n\t[vc_row_inner][vc_column_inner][vc_column_text]\n
From left to right: <\/strong><\/h6>\n
Exhibition views Ground Control.<\/em> Image courtesy of Bildmuseet. Photo: Mikael Lundgren.<\/strong>
\n<\/strong>Close-ups, photo: Clelia Coussonnet.<\/h6>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row thb_full_width=”true” thb_row_padding=”true” thb_column_padding=”true” css=”.vc_custom_1604931151118{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”]\t
\n\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/figure>\n\t\t\t\t\t<\/div>\n\t[vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n
From left to right: <\/strong><\/h6>\n
Exhibition views Ground Control.<\/em> Image courtesy of Bildmuseet. Photo: Mikael Lundgren.<\/strong>
\n<\/strong>Close-ups, photo: Clelia Coussonnet.<\/h6>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row content_placement=”middle” el_class=”align-center” css=”.vc_custom_1604937877194{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

Performance<\/h3>\n

The first week-ends of the exhibition, Sofia Aurell performed Svenska v\u00e4xter<\/em>, a piece from Gerd Aurell in 1995. All of the plants from a Swedish botanical book are drawn on a piece of wall, one species on top of the other, until they merge into one single shape. The artist\u2019s intention is to free the plants from the book\u2019s Linnaean structure and organised way of viewing nature, returning them to chaos.<\/p>\n[\/vc_column_text]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column][\/vc_row][vc_row content_placement=”middle” el_class=”align-center” css=”.vc_custom_1604937890187{padding-top: 4vh !important;}”][vc_column width=”1\/2″ css=”.vc_custom_1733474165331{padding-right: 10% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]\n

Performance<\/h3>\n

The first week-ends of the exhibition, Sofia Aurell performed Svenska v\u00e4xter<\/em>, a piece from Gerd Aurell in 1995. All of the plants from a Swedish botanical book are drawn on a piece of wall, one species on top of the other, until they merge into one single shape. The artist\u2019s intention is to free the plants from the book\u2019s Linnaean structure and organised way of viewing nature, returning them to chaos.<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1733474170212{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_row_inner][vc_column_inner]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row el_class=”align-center” css=”.vc_custom_1604937917013{padding-top: 4vh !important;}”][vc_column css=”.vc_custom_1733474175142{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-lg vc_hidden-md”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”40px”][vc_column_text]\n

Quotes<\/h3>\n

We have asked all the artists in the exhibition to share a note about their relation to botanical politics and references that are crucial for them.<\/p>\n[\/vc_column_text]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text]\n
\n

\u2018My interest in botanical studies became ethnobotanical, or the relationship between plants and humans. This relationship quickly brought me to the history of migration and settlements, colonization, land grabbing and neo-colonization, as well as a long history of resilience, raising questions about the materialization of knowledge and forms of knowledge transmission.\u2019
\n<\/span><\/p>\n

\u2014 Hanan Benammar<\/span><\/p>\n<\/blockquote>\n[\/vc_column_text]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_column_text]\n
\n

\u2018The botanic garden, a non-place recreated with artificial borders as a product of pleasure and leisure, is associated with the colonial idea of \u2018collecting\u2019 and \u2018inventorying\u2019 the globe. Its exuberance and exhaustiveness offered an image of the power of Empires and a \u2018controllable chaos\u2019 that opposed the bucolic order of the natural landscape of European agricultural production lands. The indefinable nature of botanic gardens has made them points of cultural exchange and preferred places for the projection of myths, utopias, dystopias, arcades and Eden.\u2019
\n<\/span><\/p>\n

\u2014 M\u00f3nica de Miranda<\/span><\/p>\n<\/blockquote>\n[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]\n

Talk<\/h3>\n

On October 18, 2020, C\u00e9line Condorelli talks about her project Zanzibar and politics of display.
\nOn November 8, 2020, Maria Thereza Alves presents her new work Decolonizing Botany, and shares about how her work is inspired by the article Decolonization is not a metaphor<\/em> by Eve Tuck and K. Wayne Yang.
\nAll events are live streamed<\/a>.<\/strong>[\/vc_column_text][vc_empty_space height=”20px”]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column][\/vc_row][vc_row el_class=”align-center” css=”.vc_custom_1604937996023{padding-top: 4vh !important;}”][vc_column width=”1\/2″ css=”.vc_custom_1733474183462{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-sm vc_hidden-xs”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”80px”][vc_row_inner][vc_column_inner][vc_column_text]\n

Quotes<\/h3>\n

We have asked all the artists in the exhibition to share a note about their relation to botanical politics and references that are crucial for them.<\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

\n

\u2018My interest in botanical studies became ethnobotanical, or the relationship between plants and humans. This relationship quickly brought me to the history of migration and settlements, colonization, land grabbing and neo-colonization, as well as a long history of resilience, raising questions about the materialization of knowledge and forms of knowledge transmission.\u2019
\n<\/span><\/p>\n

\u2014 Hanan Benammar<\/span><\/p>\n<\/blockquote>\n[\/vc_column_text]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1733474188992{padding-right: 10% !important;}” offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”80px”][vc_row_inner][vc_column_inner][vc_column_text]\n

Talk<\/h3>\n

On October 18, 2020, C\u00e9line Condorelli talks about her project Zanzibar and politics of display.
\nOn November 8, 2020, Maria Thereza Alves presents her new work Decolonizing Botany, and shares about how her work is inspired by the article Decolonization is not a metaphor<\/em> by Eve Tuck and K. Wayne Yang.
\nAll events are live streamed<\/a>.<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”80px”]\t

\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”80px”][vc_column_text]\n
\n

\u2018The botanic garden, a non-place recreated with artificial borders as a product of pleasure and leisure, is associated with the colonial idea of \u2018collecting\u2019 and \u2018inventorying\u2019 the globe. Its exuberance and exhaustiveness offered an image of the power of Empires and a \u2018controllable chaos\u2019 that opposed the bucolic order of the natural landscape of European agricultural production lands. The indefinable nature of botanic gardens has made them points of cultural exchange and preferred places for the projection of myths, utopias, dystopias, arcades and Eden.\u2019
\n<\/span><\/p>\n

\u2014 M\u00f3nica de Miranda<\/span><\/p>\n<\/blockquote>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604938031129{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

Press<\/h3>\nPress<\/a>[\/vc_column_text]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604938041041{padding-top: 4vh !important;}”][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”80px”][vc_column_text]\n

Press<\/h3>\nPress<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ offset=”vc_hidden-sm vc_hidden-xs”][vc_row_inner][vc_column_inner]\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t
\n\t\t\t\n\t\t\t
\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1604938407953{padding-top: 4vh !important;padding-bottom: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

Related projects \u2014<\/span> Plants & Politics
\n<\/span><\/h3>\n[\/vc_column_text]\t\t
\n\t\t
\n\t
\n\t\t
\n\t\t\t\t\t\t\"\"\t\t\t
<\/div>\n\t\t<\/div>\n\t\t<\/a>\n\t\t
\n\t\t\t
La Rose de J\u00e9richo \u2013 Aur\u00e9lia Zahedi<\/h6>\n\t\t\t\t\t\t