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July 13–December 18, 2022
The Herbert F. Johnson Museum of Art at Cornell University in Ithaca, New York will host the “Futurities, Uncertain” Screen Art Series and Ken Feingold’s new media installation as part of the 2022 Cornell Biennial, which is sponsored by the Cornell Council for the Arts and directed by Timothy Murray. From July through December 2022, 30 additional artists will cycle biennial shows, installations, and performances across the Cornell Ithaca and Cornell Tech campuses. The full list of participants, along with the calendar of Biennial events, will be updated in real time at cca.cornell.edu/biennial.
Screen Art Series: “Futurities, Uncertain”
Picket Family Video Gallery, Herbert F. Johnson Museum of Art
The Biennial Screen Art Series focuses on media art practices’ altering knowledge structures as they are threatened by constrictive technological, financial, and political contexts. The ongoing political discussion of media technology and the internal churning of its potential are at issue. This series tackles “futurities, unclear,” which are constructed through a variety of world-making techniques, rather than the future per se, in an effort to better understand the ecodigital environment at a time when the future’s very existence is still up for debate.
July 13–August 14
In Madre Drone (2019–20), Chilean artist Patricia Domnguez makes a heroic eco-feminist endeavor to restore nature to a thriving Bolivian rain forest that was burned and singed by capitalist greed.
August 17–September 11
In Vitro (2019), a remarkably eerie video by Larissa Sansour (Palestine/Denmark) and Sren Lind (Denmark), explores the contradictory experiences of Alia, a young Palestinian clone who escapes an oil-fueled eco-apocalypse in a bunker beneath Bethlehem, Palestine.
September 14–October 16
Gated Commune (2018) by Camel Collective (Anthony Graves [US] and Carla Herrera-Prats [Mexico]) envelops its viewer in the porous zones, ecological shift, and haunting phenomenon of a future in transition.
October 19–November 13
Moon Kyungwon (Korea) and Jeon Joonho (Korea) situate the protagonist of The Ways of Folding Space & Flying (2015) in a gleaming, antiseptic pod of a complex digital interface that floats free of a future Venice inundated by warming seas.
November 16–December 18
Only the Indigenous Australian population has the ability to survive the future of poisoned lands and rising seascapes that threaten the Europeans, who are described as being unable to survive in these conditions for long periods of time, in The Mermaids, or Aiden in Wonderland (2018) by The Karrabing Film Collective (Australia).
Ken Feingold: The Animal, Vegetable, Mineralness of Everything
July 18–October 26
Gussman Entrance Hall, Herbert F. Johnson Museum of Art
Ken Feingold (US), a pioneer in robotic and computer art who received a Rockefeller Foundation Media Arts Fellowship and whose competition portfolios are kept in Cornell Library’s Rose Goldsen Archive for New Media Art, presents The Animal, Vegetable, Mineralness of Everything for the first time on the East Coast since its conception. Feingold donated his own artistic papers to the Goldsen Archive at the same time as the installation. In The Animal, Vegetable, Mineralness of Everything, three self-portraits, each with an animal, vegetable, or mineral mentality, explore their anxieties for the future—generally their dread of one another—while debating the nature of violence. As viewers hear how individuals project their own interior worlds onto “that object” before them in an effort to understand what it truly is, they also wonder about “that thing” in front of them.