Toward a posthumanist art and ethology The Owls Are Not What They Seem is a selective history of modern and contemporary engagements with animals in the visual arts and how these explorations relate to the evolution of scientific knowledge regarding animals. Arnaud Gerspacher argues that artistic knowledge, with its experimental nature, ability to contain contradictions, and more capacious understanding of truth-claims, presents a valuable supplement to scientific knowledge when it comes to encountering and existing alongside nonhuman animals and life worlds. Though critical of art works involving animals that are unreflective and exploitative, Gerspacher’s exploration of aesthetic practices by Allora & Calzadilla, Pierre Huyghe, Agnieszka Kurant, Araya Rasdjarmrearnsook, Martin Roth, David Weber-Krebs, and others suggests that, alongside scientific practices, art has much to offer in revealing the otherworldly qualities of animals and forging ecopolitical solidarities with fellow earthlings.
Toward a posthumanist art and ethology The Owls Are Not What They Seem is a selective history of modern and contemporary engagements with animals in the visual arts and how these explorations relate to the evolution of scientific knowledge regarding animals. Arnaud Gerspacher argues that artistic knowledge, with its experimental nature, ability to contain contradictions, and more capacious understanding of truth-claims, presents a valuable supplement to scientific knowledge when it comes to encountering and existing alongside nonhuman animals and life worlds. Though critical of art works involving animals that are unreflective and exploitative, Gerspacher’s exploration of aesthetic practices by Allora & Calzadilla, Pierre Huyghe, Agnieszka Kurant, Araya Rasdjarmrearnsook, Martin Roth, David Weber-Krebs, and others suggests that, alongside scientific practices, art has much to offer in revealing the otherworldly qualities of animals and forging ecopolitical solidarities with fellow earthlings.
Martin Roth works between the boundaries of nature and art, combining the two worlds in unique ways and questioning the gap between humans and the natural world. In recent projects he has created a soundscape for a bonsai tree using amplified sounds of caged birds, frogs, fish and crickets; grown tufts of grass on Persian rugs; and populated a gallery with parakeets living in debris from the Syrian-Turkish border. Taken as a whole, his work examines how the introduction of an organic element can redefine a surface, an object or its relation to the surrounding space. His work can be large-scale and particular to a site. The fact that it requires the nurture of living organisms makes it strangely intimate and invites the viewer if not to engage directly, at least to consider his or her relationship to the work on a human scale.
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