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Maybe I hadn’t been paying attention | NTU, Centre for Contemporary Art, Singapore

Inspired by Tarek Atoui’s current exhibition The Ground: From the Land to the Sea at NTU CCA Singapore, this screening series features artist videos, documentaries, and filmic essays that examine how the image and the sonic create immersive ways for multiple sensorial elements to come together and form a singular space. Maybe I hadn’t been paying attention is further guided by the Centre’s overarching research topic CLIMATES. HABITATS. ENVIRONMENTS. by focusing on artistic interpretations that reflect our present-day ecology, bringing attention to global issues we tend to overlook, and by observing how we navigate different environments, particularly through aural perception.

The screening series features works by Robert Ashley (United States), Lawrence Abu Hamdan (Jordan/Lebanon), Melanie Bonajo (Netherlands/United States), Camille Henrot (France/United States), Alison O’Daniel (United States), Uriel Orlow (Switzerland/United Kingdom), Simon Ripoll-Hurier (France), Ben Russell (United States), and Nico Vascellari (Italy).


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Tree Story | MUMA, Melbourne

Tree Story brings together creative practices from around the world to create a ‘forest’ of ideas relating to critical environmental and sustainability issues. At its foundation—or roots—are Indigenous ways of knowing and a recognition of trees as our ancestors and family. An exhibition, publication and podcast series, Tree Story takes inspiration from the underground networks, information sharing and mutual support understood to exist within tree communities, and poses the question: what can we learn from trees and the importance of Country? Curated by Charlotte Day and Dr Brian Martin.


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And suddenly it all blossoms | RIBOCA 2, Riga Biennial

RIBOCA2: and suddenly it all blossoms grew out of the urge to change our way of inhabiting the world through reaching out to other voices, sensibilities, and ways of making relationships. As an alternative to the deluge of hopeless narratives, the notion of re-enchantment became a frame for building desirable presents and futures, where the end of “a” world does not mean “the end of the world”. The present global circumstances resonate dramatically with the project and its urgent call for reinvention.


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Earthkeeping – Earthshaking | Galeria Quadrum, Lisbon

Group show curated by Giulia Lamoni and Vanessa Badagliacca.

In 1981, the American feminist art magazine Heresies dedicated its 13th edition to the relationships between feminism and ecology. Entitled “Earthkeeping / Earthshaking”, this edition featured contributions from authors of various nationalities, including art critic Lucy Lippard, artists Ana Mendieta, Faith Wilding, Bonnie Ora Sherk, Cecilia Vicuña and Michelle Stuart, as well as writer Gioconda Belli. Departing from the question “What can women do about the disastrous direction the world is taking?”, Heresies #13 intended to question the relationship between feminisms and ecology from multiple perspectives. Taking Heresies #13 as a starting point and as a historical and political archive capable of stimulating a fertile reflection on the triangulation between art, ecology and feminisms, the exhibition Earthkeeping / Earthshaking aims to affirm the pioneering role played by numerous artists in this specific context and, at the same time, analyse the potential of their ideas today.


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