N.4. 2022
Index of contents
- Blanca de la Torre, Editorial Coordinator
Winds of Change: Ecosocial Transition and Ecofeminisms.
Reflections from Culture - Emilio Santiago Muiño
And Why Only a Hundred Thousand?
Genius Communism, Luxury Poverty and Ecological Transition - Nuria Sánchez León
Ecofeminism in the Transition to Sustainability - Verónica Perales Blanco
Artist Project - Pedro Déniz
Artist Project - Alicia H. Puleo
Setting Out the Eco-feminist Map for Hope - Jorge Riechmann
Where Love, there the World - Bertha Zúñiga Cáceres
Conversation with Blanca de la Torre
Index photography
The images that accompany this publication, except for those of the specific works by Verónica Perales Blanco and Pedro Déniz, correspond to some projects that were curated by Blanca de la Torre in which she tackles the eco-social crisis by reducing the ecological footprint as much as possible and opting for on-site production.
Ursula Biemann. Forest Mind (2021)
Two-channel installation and DNA from the Amazon jungle. The project was shown at the 15th Cuenca Biennial (Ecuador) and is currently in the exhibition entitled Con los pies en la T(t)ierra at the CAAM Centro Atlántico de Arte Moderno (Atlantic Center of Modern Art), Las Palmas de Gran Canaria.
Indigenous cosmologies are brought into dialogue with Western philosophies and ecocentric views from the world of science to consider commonalities in understanding how reality is conceived and created. It brings together different streams of knowledge on the intelligence of plants, inter-species relations and the codification of life.
Elena Lavellés. Expanded Stratigraphy. From Geology to Social Fabric (2021)
Drawings on organic paper, sculptures using fly ash, video and photographs. The project was created for the Overview Effect exhibition at the MoCAB Museum of Contemporary Art in Belgrade (Serbia).
She explores the intersection of various social strata with geological layers, unfolding a historical and environmental fabric centred on the evolution of natural and human resource exploitation processes based on research carried out in two mines in Serbia.
Robertina Šebjanič & Gjino Šutić. Aqua_forensic. Underwater Interception of Biotweaking in Aquatocene (2018-2022)
Multimedia installation.
The project critically examines the relationship between microbial seas and humans, which are shaping aquatic habitats around the globe. The project makes visible the existence of anthropogenic chemical pollutants (pharmaceuticals) – residues of human consumption – invisible “monsters” in the water.
Tanja Vujinović. Carboflora (2019)
Video installation of a digital environment. Exhibited in the Overview Effect project at the MoCAB Museum of Contemporary Art in Belgrade (Serbia) and currently in the exhibition entitled Con los pies en la T(t)ierra at the CAAM Centro Atlántico de Arte Moderno (Atlantic Center of Modern Art), Las Palmas de Gran Canaria.
The virtual environment of this work is populated by plants that echo the flora of the Earth hundreds of millions of years ago, specifically the plants of the Carboniferous period that now make up the coalfields. Carboflora tracks the amounts of harmful particles in the atmosphere and how these levels are reflected in the way plants inhabit the virtual system.
PSJM. Fight against fossil fuels. Global energy use from renewable and non-renewable sources 2000 to 2050 (2022). Handmade ecological wall painting. Image by Sebastián Angiolini / CCE Montevideo (Uruguay).
Work produced for the exhibition entitled Fabular un mundo diferente, held at CCE Lima (Peru), CCE San José (Costa Rica), CCE El Salvador (El Salvador), Yaku Museo del Agua de Quito (Ecuador), Galería del Puerto de Maputo (Mozambique) and CCE Montevideo (Uruguay).
This mural intervention is part of the Clean Future series which, in the form of a temporary landscape, displays a graphic with statistical data on the expectations for the development of the different renewable energy sources on a global scale.
Tania Candiani. Primary colours (2015-2020)
Tapestry created by a weaver from Teotitlán del Valle (Oaxaca, Mexico). Entrance image of the Cromática exhibition, produced for the Museum of Contemporary Art and which is touring to five other museums. The entire exhibition was made with natural and local materials, in collaboration with local artisans.
Three colours act as the conceptual epicentre, linked to three biological kingdoms: the animal kingdom, from the red of the cochineal, the plant kingdom, from indigo blue, and the mineral pigments used to make yellow.
