Ingela Ihrman’s The Giant Hogweed and Sonia Levy’s For the Love of Corals  are two interrelated solo exhibitions presented simultaneously at Karlin Studios curated by Borbála Soós. They each address issues around nature management techniques in relation to specific species and touch upon colonial histories, breeding, care, landscape management and future ecologies. Which plant and animal persons are invited and welcome in our idealist vision of nature? Who are to be saved from extinction and who are deemed invasive and prosecuted for their specific qualities? The projects question what kind of species and relationships will constitute our future landscapes, and how are the new paradigms constructed for environmental conservation and natural history that emerge in the wake.

Sonia Levy’s For the Love of Corals and Ingela Ihrman’s The Giant Hogweed are two interrelated solo exhibitions presented simultaneously at Karlin Studios curated by Borbála Soós. They each address issues around nature management techniques in relation to specific species and touch upon colonial histories, breeding, care, landscape management and future ecologies. Which plant and animal persons are invited and welcome in our idealist vision of nature? Who are to be saved from extinction and who are deemed invasive and prosecuted for their specific qualities? The projects question what kind of species and relationships will constitute our future landscapes, and how are the new paradigms constructed for environmental conservation and natural history that emerge in the wake.

The underlying condition in which this exhibition and related events and online activities came about is a global emergency, one which is emerging out of an unfolding ecological crisis and can be attributed to the violent process of rampant deforestation, which constitutes a continuation of imperial methods of territorial control. This massive reshaping of the land, together with the shifting baselines regarding what kind of green deserts we are willing to accept as forests, might be seen as a symptom of our Anthropocene epoch. The show conjures up the ghosts of lost or near-extinct species, forests and sensations.

As an outcome of her residency March - May 2020 at Agosto Foundation, Prague, curator Borbála Soós invites you on a journey. In the familiar style of virtual guided tours in exhibition halls, she will take you through a series of existing and imagined spaces filled with strange details and luscious vegetation. She will guide you through a series of passageways, exploring the complex and entangled relationship between places, species and history with the help of audio pieces, videos and other artworks. Along the way Borbála will talk about issues of narrativisation and of how we perceive nature, blurring the boundaries between fact and fiction. She will problematise colonial legacies, the financialization of nature, rewilding and humans as saviours of nature.

The lecture performance was part of the events at the forest gathering with WOODS, Community for Cultivation, Theory and Art, near the village of Písečná, Ústí nad Orlicí, in the foothills of the Orlické Mountains, Czech Republic. Titled WE ARE WOODS: About Plant Intelligence and Interspecies Communication, artists, theorists, curators, sociologists, plant and star experts met, discussed, cooked, and shared time in a forest removed from agricultural use and devoted to the common exploration of our interconnected existence.

Joana Escoval solo exhibition.

The exhibition transplants us into a fictional landscape. It is a strange, yet familiar place, potentially of the future. Clearly dependent on human interaction, it is a result of complex forces, pre-determined by hybrid histories.

For the closing event of her residency at Blitz, curator Borbála Soós creates an exhibition in a form of a talk. Bringing the audience on a journey evoking a series of existing and imagined spaces in Malta and on other similar islands, she flexibly opens up the mind to what a space of an exhibition could contain, expanding and contracting along the way.

Plant: You are obsessed with things to come... Just a thought, maybe instead of going crazy over this, you need to embrace what’s around you, here and now. Like your first proposition about metamorphoses. Can’t you notice how we all mutually constitute each other in codependency? If you think about it this way: we might go to heaven , or to hell, but either way, we will be still mutually reliant on each other...

These two interrelated solo exhibitions by Petra Feriancová and Nicolás Lamas look at our current times as a moment when complex systems and ecologies are more and more vulnerable, and in fact quickly falling apart. They consider instances of accelerated entropy as moments when transformations happen.

Metabolism is not personal. It is engineered. The metabolism of cells rewired to get more efficient, to grant them the ability to generate new products. Fuels, chemicals, foods, and drugs. Not entirely artificial, not wholly organic. Perfect enough to keep the engines running. Just make sure to keep the by-products in a dark dry place.

Expanding the idea of the present, the works in this show were conceived and enacted at various historical moments over the last two decades, and yet remain viscerally relevant to our current times. Carrying the potential for transformation and activism, rather than being directly reactionary to contemporary politics, they build a new language and meaning bottom up, and through their own logic. Rather than creating utopian or parallel circumstances, the works exist in this reality and articulate empowering statements.

The multiple voices within the exhibition reflect on stories about communities that are formed through shared attitudes and aspirations. Sharing these accounts of various modernist utopian, avant-garde, Marxist, anarchist, or even naive teenage strategies provides an opportunity to transfer their energies into contemporary structures of thought.

CONGLOMERATE is a collaborative Gesamtkunstwerk presented in the form of a television network. The project is realised by a core team of five Berlin-based artists and filmmakers: Sol Calero, Ethan Hayes-Chute, Derek Howard, Christopher Kline and Dafna Maimon. ‘Station ID’ is CONGLOMERATE’s first project to be realised in London. Inspired by the Rube Goldberg Machine, the installation is an absurdly complicated arrangement of devices, linked together to perform a simple task.

The exhibition maps relations between various species in a landscape both strange and familiar. It strives to open up a world of imagination where all other beings have the same agency as humans, and where, if you wish, species are capable or becoming, or transforming into one another.

The two interconnected projects in the exhibition spring from David Ferrando Giraut's ongoing research on humans’ relation with images throughout history. Using the tensions between representation and represented reality as a cognitive tool, the show highlights how capital colonises aesthetic experience.

Imagine a land full of swamps emitting suffocatingly sweet scents in the heat. The air is thick with poisonous substances left over after the party, which involved snorting and getting high on the lusciousness of the Earth. The intoxicating dance of consuming degenerates into entropy. Rhizomatic connections happen underground, underwater, and in the air. Algorithms mimic natural growth. Cells permutate and exchange. The senses are overloaded with the magical and the exotic, while we wonder about a nature after nature...

Tell me the story Of all these things is an accumulation of several narrative threads drawing together intimate conversations between the artist and her two sisters, ominous animated visions of a metamorphosing body, e-learning training on Prevent, and staged, performed gestures. The work takes its title from Theresa Hak Kyung Cha’s Dictee, a novel that deploys a variety of texts to examine themes of dislocation and fragmentation. Taking Cha’s work as a departure point, the exhibitions explores processes of disassembling as constitutive of lived experience.

The event series took shape in variety of formats, including talks, discussions, seminars, workshops, tours and publication launches. The gallery also hosted an exhibition, including a research library and a debate space on the ground floor, and a screening downstairs. Can Altay's ongoing journal, 'Ahali, Setting a Setting' unfolded into an installation, including new contributions. Adelita Husi-Bey's video ‘Ard’ (Land), 2014 presented a specific case study of ‘Cairo 2050’, a government-backed and privately funded metropolitan development plan of epic proportions, which threatens the livelihood of many settlements...

'Mr. Palomar's mind has wandered, he has stopped pulling up weeds. He no longer thinks of the lawn: he thinks of the universe. He is trying to apply to the universe everything he has thought about the lawn. The universe as regular and ordered cosmos or as chaotic proliferation. The universe perhaps finite but countless, unstable within its borders, which discloses other universes within itself. The universe, collection of celestial bodies, nebulas, fine dust, force fields, intersections of fields, collections of collections.' – Italo Calvino, Mr. Palomar ...

Taking place in both gallery spaces of Tenderpixel, the exhibition Things That Tumble Twice looks at the sphere of duality. It recalls ideas of juxtaposition, complementarity and interrelated parts (i.e. matter and its absence, light and darkness, signifier and significant, thesis and antithesis, animate and inanimate objects, 0 s and 1s, yin and yang). On the other hand, and at the same time, the exhibition in its entirety is informed by the principle of multiplicity as becoming and unity— as something that cannot be described as the sum of its parts or qualities but simply as an irreducible whole (i.e. complex systems, hermeneutic circle, organicism, life, a cloud)...

In his book, ‘The Nightmare of Participation’, first published in 2010, Markus Miessen describes participation, collaboration and collectivity as only pseudo-democratic terms. The words participation and consensus have become increasingly overused, and their uncritical, naive or even romantic applications are frightening. Miessen enters the discussion as an architect, but also advocates for vigorous cross-disciplinary intrusions...

‘[...]dancing together is as much about how we come together to enact a community as it is about enacting and expressing the ideological framework that a community requires to persist. It is about doing community, as action and as ideology.’
– Benjamin Pohlig on Social choreography...

The exhibition considers artworks that use the structure of the stage and certain conventions of scriptwriting as a framework for investigations into relationships, social interactions, and political ecologies. Taking theatre as an open ended process with its multiple contexts and references, the exhibition acts as catalyst for performances, screenings, talks and other forms of engagement...

In the latter part of the nineteenth century, Georg Cantor revolutionised mathematics with the concept of a set. Not only a collection of objects, a set includes the rules we apply to them. By multiplying the reservoir of parameters conveyed through situations, objects and scores, the works in this exhibition plead for the rediscovery and conscious reflection on the construction of reality...

This exhibition brings together practices that revisit the idea of RITUAL as a catalyst for transformative experience; a notion explored in the work of Lygia Clark (‘I manipulate the rite without the myth’). Her work, which existed only through the agency and subjective experience of an audience, acts as a point of departure from which to re-examine the function of ritual today. By exploring ritual as medium, Clark shifts the focus from the field of the spiritual to patterns of social interaction, creating potential for the production of alternative forms of subjectivity.

This exhibition brings together practices that interrogate MYTH as a set of beliefs that sustain our social structures. In the works presented, different bodies of culture are devoured and devour in turn; a strategy that can be related to the concept of antropofagia (the cannibalisation of culture, as first defined within Brazilian avant-gardes). Rather than incorporating the other, this process involves a transformation, a becoming. Devouring mythologies allows the possibility of re signifying them, in order to decentre the colonial, social and sexual norms that constitute modernity...