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Bárbara Acevedo Strange & วนิสสา

a notion of the ever-lasting (2563)
การติดตั้งวิดีโอ
16:9

ทะเลทรายต่างๆ เล่าเรื่องราวด้วยเสียงที่หลากหลายเกี่ยวกับกระแสความปั่นป่วนของวิญญาณในทะเลทรายเหล่านั้น พวกมันสังเกตเห็นว่าสิ่งที่พวกมันเคยคิดว่าเป็นสสารนิรันดร์นั้น ในที่สุดก็เสื่อมสลายไป ในเรื่องราวของพวกมัน กิจกรรมของมนุษย์สามารถติดตามได้ในฐานะปรากฏการณ์ที่เกิดขึ้นโดยบังเอิญผ่านช่วงเวลาที่หลากหลาย แนวคิดเรื่องความยั่งยืนนี้มุ่งหวังที่จะทำความเข้าใจกระบวนการบางอย่างที่เกี่ยวข้องกับสิ่งที่เรามองว่าเป็นภาวะฉุกเฉินด้านสภาพภูมิอากาศ ผ่านการเล่าเรื่องและการสังเกตการเคลื่อนไหวอย่างใกล้ชิดในระดับเวลาที่แตกต่างกัน เรื่องราวเหล่านี้ถูกถ่ายทอดโดยทะเลทรายต่างๆ แต่ละแห่งเป็นตัวแทนของมุมมองทางภูมิศาสตร์และปรัชญาที่เป็นเอกลักษณ์

พื้นที่แสดงผลงงาน :KULTX Collaborative Space, จังหวัดขอนแก่น

S.O.E. 2025: Sound of Era เสียงแห่งยุคสมัย
เทศกาลศิลปะร่วมสมัยนานาชาติ
🗓จัดแสดงระหว่างวันที่ 13 ธันวาคม 2568 – 28 กุมภาพันธ์ 2569
📌พื้นที่จัดแสดง
จังหวัดหนองคาย อำเภอศรีเชียงใหม่ อำเภอท่าบ่อ วันที่ 13 ธันวาคม 2568 – 28 กุมภาพันธ์ 2569
จังหวัดอุดรธานี วันที่ 20 – 30 ธันวาคม 2568
จังหวัดขอนแก่น วันที่ 10 มกราคม – 28 กุมภาพันธ์ 2569
สถานที่ : https://maps.app.goo.gl/TBTg8fqVrG77dZuv6

#SOE #SoundofEra #SOE2025 #เสียงแห่งยุคสมัย #KULTX

[ English text in Comments ]

Bárbara Acevedo Strange & วนิสสา

a notion of the ever-lasting (2563)
การติดตั้งวิดีโอ
16:9

ทะเลทรายต่างๆ เล่าเรื่องราวด้วยเสียงที่หลากหลายเกี่ยวกับกระแสความปั่นป่วนของวิญญาณในทะเลทรายเหล่านั้น พวกมันสังเกตเห็นว่าสิ่งที่พวกมันเคยคิดว่าเป็นสสารนิรันดร์นั้น ในที่สุดก็เสื่อมสลายไป ในเรื่องราวของพวกมัน กิจกรรมของมนุษย์สามารถติดตามได้ในฐานะปรากฏการณ์ที่เกิดขึ้นโดยบังเอิญผ่านช่วงเวลาที่หลากหลาย แนวคิดเรื่องความยั่งยืนนี้มุ่งหวังที่จะทำความเข้าใจกระบวนการบางอย่างที่เกี่ยวข้องกับสิ่งที่เรามองว่าเป็นภาวะฉุกเฉินด้านสภาพภูมิอากาศ ผ่านการเล่าเรื่องและการสังเกตการเคลื่อนไหวอย่างใกล้ชิดในระดับเวลาที่แตกต่างกัน เรื่องราวเหล่านี้ถูกถ่ายทอดโดยทะเลทรายต่างๆ แต่ละแห่งเป็นตัวแทนของมุมมองทางภูมิศาสตร์และปรัชญาที่เป็นเอกลักษณ์

พื้นที่แสดงผลงงาน :KULTX Collaborative Space, จังหวัดขอนแก่น

S.O.E. 2025: Sound of Era เสียงแห่งยุคสมัย
เทศกาลศิลปะร่วมสมัยนานาชาติ
🗓จัดแสดงระหว่างวันที่ 13 ธันวาคม 2568 – 28 กุมภาพันธ์ 2569
📌พื้นที่จัดแสดง
จังหวัดหนองคาย อำเภอศรีเชียงใหม่ อำเภอท่าบ่อ วันที่ 13 ธันวาคม 2568 – 28 กุมภาพันธ์ 2569
จังหวัดอุดรธานี วันที่ 20 – 30 ธันวาคม 2568
จังหวัดขอนแก่น วันที่ 10 มกราคม – 28 กุมภาพันธ์ 2569
สถานที่ : https://maps.app.goo.gl/TBTg8fqVrG77dZuv6

#SOE #SoundofEra #SOE2025 #เสียงแห่งยุคสมัย #KULTX

[ English text in Comments ]

Bárbara Acevedo Strange & วนิสสา

a notion of the ever-lasting (2563)
การติดตั้งวิดีโอ
16:9

ทะเลทรายต่างๆ เล่าเรื่องราวด้วยเสียงที่หลากหลายเกี่ยวกับกระแสความปั่นป่วนของวิญญาณในทะเลทรายเหล่านั้น พวกมันสังเกตเห็นว่าสิ่งที่พวกมันเคยคิดว่าเป็นสสารนิรันดร์นั้น ในที่สุดก็เสื่อมสลายไป ในเรื่องราวของพวกมัน กิจกรรมของมนุษย์สามารถติดตามได้ในฐานะปรากฏการณ์ที่เกิดขึ้นโดยบังเอิญผ่านช่วงเวลาที่หลากหลาย แนวคิดเรื่องความยั่งยืนนี้มุ่งหวังที่จะทำความเข้าใจกระบวนการบางอย่างที่เกี่ยวข้องกับสิ่งที่เรามองว่าเป็นภาวะฉุกเฉินด้านสภาพภูมิอากาศ ผ่านการเล่าเรื่องและการสังเกตการเคลื่อนไหวอย่างใกล้ชิดในระดับเวลาที่แตกต่างกัน เรื่องราวเหล่านี้ถูกถ่ายทอดโดยทะเลทรายต่างๆ แต่ละแห่งเป็นตัวแทนของมุมมองทางภูมิศาสตร์และปรัชญาที่เป็นเอกลักษณ์

พื้นที่แสดงผลงงาน :KULTX Collaborative Space, จังหวัดขอนแก่น

S.O.E. 2025: Sound of Era เสียงแห่งยุคสมัย
เทศกาลศิลปะร่วมสมัยนานาชาติ
🗓จัดแสดงระหว่างวันที่ 13 ธันวาคม 2568 – 28 กุมภาพันธ์ 2569
📌พื้นที่จัดแสดง
จังหวัดหนองคาย อำเภอศรีเชียงใหม่ อำเภอท่าบ่อ วันที่ 13 ธันวาคม 2568 – 28 กุมภาพันธ์ 2569
จังหวัดอุดรธานี วันที่ 20 – 30 ธันวาคม 2568
จังหวัดขอนแก่น วันที่ 10 มกราคม – 28 กุมภาพันธ์ 2569
สถานที่ : https://maps.app.goo.gl/TBTg8fqVrG77dZuv6

#SOE #SoundofEra #SOE2025 #เสียงแห่งยุคสมัย #KULTX

[ English text in Comments ]

Bárbara Acevedo Strange & วนิสสา

a notion of the ever-lasting (2563)
การติดตั้งวิดีโอ
16:9

ทะเลทรายต่างๆ เล่าเรื่องราวด้วยเสียงที่หลากหลายเกี่ยวกับกระแสความปั่นป่วนของวิญญาณในทะเลทรายเหล่านั้น พวกมันสังเกตเห็นว่าสิ่งที่พวกมันเคยคิดว่าเป็นสสารนิรันดร์นั้น ในที่สุดก็เสื่อมสลายไป ในเรื่องราวของพวกมัน กิจกรรมของมนุษย์สามารถติดตามได้ในฐานะปรากฏการณ์ที่เกิดขึ้นโดยบังเอิญผ่านช่วงเวลาที่หลากหลาย แนวคิดเรื่องความยั่งยืนนี้มุ่งหวังที่จะทำความเข้าใจกระบวนการบางอย่างที่เกี่ยวข้องกับสิ่งที่เรามองว่าเป็นภาวะฉุกเฉินด้านสภาพภูมิอากาศ ผ่านการเล่าเรื่องและการสังเกตการเคลื่อนไหวอย่างใกล้ชิดในระดับเวลาที่แตกต่างกัน เรื่องราวเหล่านี้ถูกถ่ายทอดโดยทะเลทรายต่างๆ แต่ละแห่งเป็นตัวแทนของมุมมองทางภูมิศาสตร์และปรัชญาที่เป็นเอกลักษณ์

พื้นที่แสดงผลงงาน :KULTX Collaborative Space, จังหวัดขอนแก่น

S.O.E. 2025: Sound of Era เสียงแห่งยุคสมัย
เทศกาลศิลปะร่วมสมัยนานาชาติ
🗓จัดแสดงระหว่างวันที่ 13 ธันวาคม 2568 – 28 กุมภาพันธ์ 2569
📌พื้นที่จัดแสดง
จังหวัดหนองคาย อำเภอศรีเชียงใหม่ อำเภอท่าบ่อ วันที่ 13 ธันวาคม 2568 – 28 กุมภาพันธ์ 2569
จังหวัดอุดรธานี วันที่ 20 – 30 ธันวาคม 2568
จังหวัดขอนแก่น วันที่ 10 มกราคม – 28 กุมภาพันธ์ 2569
สถานที่ : https://maps.app.goo.gl/TBTg8fqVrG77dZuv6

#SOE #SoundofEra #SOE2025 #เสียงแห่งยุคสมัย #KULTX

In one month, on October 24, my new album Searching / Finding will be released on @teppichrecords . Today, I’m showing you the artwork that was born from a collaboration with Bárbara Acevedo Strange and Moritz Appich. In spring we’ve spent long days and late nights together to eventually capture this image around the summer solstice. We had a magical time, thank you @bbastrange & @moritz.appich ❤️

You can now pre-order the album on vinyl and digitally on Treibender Teppich’s Bandcamp page (link in my bio). 

I’m so excited to share all of this with you! Much love, Paul 🍎

In one month, on October 24, my new album Searching / Finding will be released on @teppichrecords . Today, I’m showing you the artwork that was born from a collaboration with Bárbara Acevedo Strange and Moritz Appich. In spring we’ve spent long days and late nights together to eventually capture this image around the summer solstice. We had a magical time, thank you @bbastrange & @moritz.appich ❤️

You can now pre-order the album on vinyl and digitally on Treibender Teppich’s Bandcamp page (link in my bio). 

I’m so excited to share all of this with you! Much love, Paul 🍎

Last week Forest Fire Planetarium by Bárbara Acevedo Strange took over Frizz Gallery as part of the Fog exhibition curated by Eloise Sweetman and Aleksander Komarov.

Here, a look back at a selection of soot drawings that were installed at the gallery and the process of making them.

The Forest Fire Planetarium was conceived during the Bosque Pehuén residency program by Fundación Mar Adentro.

This work is presented as part of an exhibition called Fog, curated by Eloise Sweetman and Aleksander Komarov. The concept explores the ephemeral nature of what is formed or discovered within the void of a space, emphasizing its ever-changing presence and transformation. The works presented engage with the space, both in their appearance and their representation, creating a dialogue between the artworks and the environment. These works reference new ways of communication—both within the space and through the window to the outside space. The exhibition unfolds in sequences, with each work manifesting the transformation of the space. Fog runs from 29 November till 20 January.

………………………………………………………

Forest Fire Planetarium draws inspiration from the relational quality of fire as a starting point for creating a repository of narrative tools for post-apocalyptic worldbuilding. Developed during a residency in Bosque Pehuén, the collection evolved through the observation of post-fire responses within the Araucanía Andina (CL) territory. The language used to describe such phenomena resonates through the collection, which takes the shape of a game. The game proposes an arena for cosmopolitan storytelling. Each component can be stacked and layered, creating new entanglements. Fire here plays the role of a vector; it mobilizes material and possesses transformative faculties. While looking at the shadows, the players are asked to set themselves in relation to the world they find in front of them. The game poses the question of the aftermath of the catastrophe using a non anthropocentric vocabulary.

………………………………………………………

Happy New Year to all and hope to see you soon at the upcoming events! 🐍

@bbastrange
@eloise_sweetman
@aleksanderkmrv

Last week Forest Fire Planetarium by Bárbara Acevedo Strange took over Frizz Gallery as part of the Fog exhibition curated by Eloise Sweetman and Aleksander Komarov.

Here, a look back at a selection of soot drawings that were installed at the gallery and the process of making them.

The Forest Fire Planetarium was conceived during the Bosque Pehuén residency program by Fundación Mar Adentro.

This work is presented as part of an exhibition called Fog, curated by Eloise Sweetman and Aleksander Komarov. The concept explores the ephemeral nature of what is formed or discovered within the void of a space, emphasizing its ever-changing presence and transformation. The works presented engage with the space, both in their appearance and their representation, creating a dialogue between the artworks and the environment. These works reference new ways of communication—both within the space and through the window to the outside space. The exhibition unfolds in sequences, with each work manifesting the transformation of the space. Fog runs from 29 November till 20 January.

………………………………………………………

Forest Fire Planetarium draws inspiration from the relational quality of fire as a starting point for creating a repository of narrative tools for post-apocalyptic worldbuilding. Developed during a residency in Bosque Pehuén, the collection evolved through the observation of post-fire responses within the Araucanía Andina (CL) territory. The language used to describe such phenomena resonates through the collection, which takes the shape of a game. The game proposes an arena for cosmopolitan storytelling. Each component can be stacked and layered, creating new entanglements. Fire here plays the role of a vector; it mobilizes material and possesses transformative faculties. While looking at the shadows, the players are asked to set themselves in relation to the world they find in front of them. The game poses the question of the aftermath of the catastrophe using a non anthropocentric vocabulary.

………………………………………………………

Happy New Year to all and hope to see you soon at the upcoming events! 🐍

@bbastrange
@eloise_sweetman
@aleksanderkmrv

Last week Forest Fire Planetarium by Bárbara Acevedo Strange took over Frizz Gallery as part of the Fog exhibition curated by Eloise Sweetman and Aleksander Komarov.

Here, a look back at a selection of soot drawings that were installed at the gallery and the process of making them.

The Forest Fire Planetarium was conceived during the Bosque Pehuén residency program by Fundación Mar Adentro.

This work is presented as part of an exhibition called Fog, curated by Eloise Sweetman and Aleksander Komarov. The concept explores the ephemeral nature of what is formed or discovered within the void of a space, emphasizing its ever-changing presence and transformation. The works presented engage with the space, both in their appearance and their representation, creating a dialogue between the artworks and the environment. These works reference new ways of communication—both within the space and through the window to the outside space. The exhibition unfolds in sequences, with each work manifesting the transformation of the space. Fog runs from 29 November till 20 January.

………………………………………………………

Forest Fire Planetarium draws inspiration from the relational quality of fire as a starting point for creating a repository of narrative tools for post-apocalyptic worldbuilding. Developed during a residency in Bosque Pehuén, the collection evolved through the observation of post-fire responses within the Araucanía Andina (CL) territory. The language used to describe such phenomena resonates through the collection, which takes the shape of a game. The game proposes an arena for cosmopolitan storytelling. Each component can be stacked and layered, creating new entanglements. Fire here plays the role of a vector; it mobilizes material and possesses transformative faculties. While looking at the shadows, the players are asked to set themselves in relation to the world they find in front of them. The game poses the question of the aftermath of the catastrophe using a non anthropocentric vocabulary.

………………………………………………………

Happy New Year to all and hope to see you soon at the upcoming events! 🐍

@bbastrange
@eloise_sweetman
@aleksanderkmrv

Last week Forest Fire Planetarium by Bárbara Acevedo Strange took over Frizz Gallery as part of the Fog exhibition curated by Eloise Sweetman and Aleksander Komarov.

Here, a look back at a selection of soot drawings that were installed at the gallery and the process of making them.

The Forest Fire Planetarium was conceived during the Bosque Pehuén residency program by Fundación Mar Adentro.

This work is presented as part of an exhibition called Fog, curated by Eloise Sweetman and Aleksander Komarov. The concept explores the ephemeral nature of what is formed or discovered within the void of a space, emphasizing its ever-changing presence and transformation. The works presented engage with the space, both in their appearance and their representation, creating a dialogue between the artworks and the environment. These works reference new ways of communication—both within the space and through the window to the outside space. The exhibition unfolds in sequences, with each work manifesting the transformation of the space. Fog runs from 29 November till 20 January.

………………………………………………………

Forest Fire Planetarium draws inspiration from the relational quality of fire as a starting point for creating a repository of narrative tools for post-apocalyptic worldbuilding. Developed during a residency in Bosque Pehuén, the collection evolved through the observation of post-fire responses within the Araucanía Andina (CL) territory. The language used to describe such phenomena resonates through the collection, which takes the shape of a game. The game proposes an arena for cosmopolitan storytelling. Each component can be stacked and layered, creating new entanglements. Fire here plays the role of a vector; it mobilizes material and possesses transformative faculties. While looking at the shadows, the players are asked to set themselves in relation to the world they find in front of them. The game poses the question of the aftermath of the catastrophe using a non anthropocentric vocabulary.

………………………………………………………

Happy New Year to all and hope to see you soon at the upcoming events! 🐍

@bbastrange
@eloise_sweetman
@aleksanderkmrv

Last week Forest Fire Planetarium by Bárbara Acevedo Strange took over Frizz Gallery as part of the Fog exhibition curated by Eloise Sweetman and Aleksander Komarov.

Here, a look back at a selection of soot drawings that were installed at the gallery and the process of making them.

The Forest Fire Planetarium was conceived during the Bosque Pehuén residency program by Fundación Mar Adentro.

This work is presented as part of an exhibition called Fog, curated by Eloise Sweetman and Aleksander Komarov. The concept explores the ephemeral nature of what is formed or discovered within the void of a space, emphasizing its ever-changing presence and transformation. The works presented engage with the space, both in their appearance and their representation, creating a dialogue between the artworks and the environment. These works reference new ways of communication—both within the space and through the window to the outside space. The exhibition unfolds in sequences, with each work manifesting the transformation of the space. Fog runs from 29 November till 20 January.

………………………………………………………

Forest Fire Planetarium draws inspiration from the relational quality of fire as a starting point for creating a repository of narrative tools for post-apocalyptic worldbuilding. Developed during a residency in Bosque Pehuén, the collection evolved through the observation of post-fire responses within the Araucanía Andina (CL) territory. The language used to describe such phenomena resonates through the collection, which takes the shape of a game. The game proposes an arena for cosmopolitan storytelling. Each component can be stacked and layered, creating new entanglements. Fire here plays the role of a vector; it mobilizes material and possesses transformative faculties. While looking at the shadows, the players are asked to set themselves in relation to the world they find in front of them. The game poses the question of the aftermath of the catastrophe using a non anthropocentric vocabulary.

………………………………………………………

Happy New Year to all and hope to see you soon at the upcoming events! 🐍

@bbastrange
@eloise_sweetman
@aleksanderkmrv

The tour we guided in and around the Vilnius Railway Station on 26 October has been encapsulated in a short reader, inviting you to enter to exit and get lost in transportation. To travel through rendered stories of the Vilnius Railway Station to be, to consider a windowless elevator, politics of speed and think a bit about noise, digestion and finally why the little figures count.

If you wish to travel, dm us for a reader!
The reader is self-published, 28 pages long, stapled golden, in the size of a postcard.

The tour took place in the context of the Baltic Lines exhibition I hope this email finds you well. 💌

This work was supported by Culture Moves Europe.

The tour we guided in and around the Vilnius Railway Station on 26 October has been encapsulated in a short reader, inviting you to enter to exit and get lost in transportation. To travel through rendered stories of the Vilnius Railway Station to be, to consider a windowless elevator, politics of speed and think a bit about noise, digestion and finally why the little figures count.

If you wish to travel, dm us for a reader!
The reader is self-published, 28 pages long, stapled golden, in the size of a postcard.

The tour took place in the context of the Baltic Lines exhibition I hope this email finds you well. 💌

This work was supported by Culture Moves Europe.

The tour we guided in and around the Vilnius Railway Station on 26 October has been encapsulated in a short reader, inviting you to enter to exit and get lost in transportation. To travel through rendered stories of the Vilnius Railway Station to be, to consider a windowless elevator, politics of speed and think a bit about noise, digestion and finally why the little figures count.

If you wish to travel, dm us for a reader!
The reader is self-published, 28 pages long, stapled golden, in the size of a postcard.

The tour took place in the context of the Baltic Lines exhibition I hope this email finds you well. 💌

This work was supported by Culture Moves Europe.

The tour we guided in and around the Vilnius Railway Station on 26 October has been encapsulated in a short reader, inviting you to enter to exit and get lost in transportation. To travel through rendered stories of the Vilnius Railway Station to be, to consider a windowless elevator, politics of speed and think a bit about noise, digestion and finally why the little figures count.

If you wish to travel, dm us for a reader!
The reader is self-published, 28 pages long, stapled golden, in the size of a postcard.

The tour took place in the context of the Baltic Lines exhibition I hope this email finds you well. 💌

This work was supported by Culture Moves Europe.

The tour we guided in and around the Vilnius Railway Station on 26 October has been encapsulated in a short reader, inviting you to enter to exit and get lost in transportation. To travel through rendered stories of the Vilnius Railway Station to be, to consider a windowless elevator, politics of speed and think a bit about noise, digestion and finally why the little figures count.

If you wish to travel, dm us for a reader!
The reader is self-published, 28 pages long, stapled golden, in the size of a postcard.

The tour took place in the context of the Baltic Lines exhibition I hope this email finds you well. 💌

This work was supported by Culture Moves Europe.

The tour we guided in and around the Vilnius Railway Station on 26 October has been encapsulated in a short reader, inviting you to enter to exit and get lost in transportation. To travel through rendered stories of the Vilnius Railway Station to be, to consider a windowless elevator, politics of speed and think a bit about noise, digestion and finally why the little figures count.

If you wish to travel, dm us for a reader!
The reader is self-published, 28 pages long, stapled golden, in the size of a postcard.

The tour took place in the context of the Baltic Lines exhibition I hope this email finds you well. 💌

This work was supported by Culture Moves Europe.

The tour we guided in and around the Vilnius Railway Station on 26 October has been encapsulated in a short reader, inviting you to enter to exit and get lost in transportation. To travel through rendered stories of the Vilnius Railway Station to be, to consider a windowless elevator, politics of speed and think a bit about noise, digestion and finally why the little figures count.

If you wish to travel, dm us for a reader!
The reader is self-published, 28 pages long, stapled golden, in the size of a postcard.

The tour took place in the context of the Baltic Lines exhibition I hope this email finds you well. 💌

This work was supported by Culture Moves Europe.

The tour we guided in and around the Vilnius Railway Station on 26 October has been encapsulated in a short reader, inviting you to enter to exit and get lost in transportation. To travel through rendered stories of the Vilnius Railway Station to be, to consider a windowless elevator, politics of speed and think a bit about noise, digestion and finally why the little figures count.

If you wish to travel, dm us for a reader!
The reader is self-published, 28 pages long, stapled golden, in the size of a postcard.

The tour took place in the context of the Baltic Lines exhibition I hope this email finds you well. 💌

This work was supported by Culture Moves Europe.

Desert of Granular Matter: What would the eternal ghosts, the energies do?

Eternal Desert: The ghosts would look at the maps in wonder. The maps in which continents are assigned circles of different sizes according to their potential to supply terawatt hours, and ask: Whose energy security? Make no mistake, there are innumerable alternatives out there: the difficulty is in choosing between them. Who is served by dissolving land, wind, ocean surfaces, and currents, gravity, trees, grass into units of thermodynamic work?

A notion of the ever-lasting (multi-channel)

photos by Carla Schleiffer @carla.schleiffer
at Air Berlin Alexanderplatz @airberlinalexanderplatz
27.-29.01.2024

credits

script and production: Bárbara Acevedo Strange & Vanessa Bosch
voices by Céline Mathieu @cm.celinemathieu, Deborah Macauley @belfro_ and Wild Speller @tradwifi
sound design: Vanessa Bosch
additional music: Prime Vertical - Saturn in the 12th House
additional lyrics: El desierto (un mar de muertos) by Raúl Zurita, Mist by Ahmad Shamlou, Sandfamilien by Yevgeniy Breyger
shot in Mallorca (ES), Bledow desert (PL), Bergheider See (DE) 2022

Desert of Granular Matter: What would the eternal ghosts, the energies do?

Eternal Desert: The ghosts would look at the maps in wonder. The maps in which continents are assigned circles of different sizes according to their potential to supply terawatt hours, and ask: Whose energy security? Make no mistake, there are innumerable alternatives out there: the difficulty is in choosing between them. Who is served by dissolving land, wind, ocean surfaces, and currents, gravity, trees, grass into units of thermodynamic work?

A notion of the ever-lasting (multi-channel)

photos by Carla Schleiffer @carla.schleiffer
at Air Berlin Alexanderplatz @airberlinalexanderplatz
27.-29.01.2024

credits

script and production: Bárbara Acevedo Strange & Vanessa Bosch
voices by Céline Mathieu @cm.celinemathieu, Deborah Macauley @belfro_ and Wild Speller @tradwifi
sound design: Vanessa Bosch
additional music: Prime Vertical - Saturn in the 12th House
additional lyrics: El desierto (un mar de muertos) by Raúl Zurita, Mist by Ahmad Shamlou, Sandfamilien by Yevgeniy Breyger
shot in Mallorca (ES), Bledow desert (PL), Bergheider See (DE) 2022

Different deserts engage in a pluri-vocal narration about the vorticity of their ghosts. They notice that what they so far deemed as eternal matter, eventually decays. Within their stories, human activities can be traced as incidental appearances through multiple temporalities.
a notion of the ever-lasting aims to get a grip on some of the processes involved in what we perceive as climate emergency through storytelling and the close observation of movements at different time scales. These stories are voiced by different deserts, each one representing a singular geographical and philosophical perspective.

with voices by Céline Mathieu @cm.celinemathieu, Deborah Macauley @belfro_ and Wild Speller @tradwifi

#AirBerlinAlexanderplatz #TransmedialeVorspiel2024 #EverlastingNotion #FilmScreening #NarrativeArt #EternalDesert #GranularDesert #NomadicDesert #MultiChannelInstallation

A NOTION OF THE EVER-LASTING
by Bárbara Acevedo Strange & Vanessa Bosch

🪲Screening at ABA @airberlinalexanderplatz
Saturday 27.01. 19 – 22:00
Sunday 28.01. 16 – 19:00 with snacks&drinks
Monday 29.01. 16 – 19:00

Different deserts engage in a pluri-vocal narration about the vorticity of their ghosts. They notice that what they so far deemed as eternal matter, eventually decays. Within their stories, human activities can be traced as incidental appearances through multiple temporalities.
a notion of the ever-lasting aims to get a grip on some of the processes involved in what we perceive as climate emergency through storytelling and the close observation of movements at different time scales. These stories are voiced by different deserts, each one representing a singular geographical and philosophical perspective.

With voices by Céline Mathieu @cm.celinemathieu, Deborah Macauley @belfro_ and Wilf Speller @tradwifi

#AirBerlinAlexanderplatz #TransmedialeVorspiel2024 #BarbaraAcevedoStrange #VanessaBosch#EverlastingNotion #FilmScreening #NarrativeArt #EternalDesert #GranularDesert #NomadicDesert #MultiChannelInstallation

💧Oh look, it’s Renny! Also going by the name Rheini or Rini. They were our mascot in the Graduation Show design 21/22 of @hfg_ka

A river flow diagram guiding through the exhibition.

Concept and design together with @bbastrange
Wooden Renny in the exhibtion by @oliverboualam

💧Oh look, it’s Renny! Also going by the name Rheini or Rini. They were our mascot in the Graduation Show design 21/22 of @hfg_ka

A river flow diagram guiding through the exhibition.

Concept and design together with @bbastrange
Wooden Renny in the exhibtion by @oliverboualam

💧Oh look, it’s Renny! Also going by the name Rheini or Rini. They were our mascot in the Graduation Show design 21/22 of @hfg_ka

A river flow diagram guiding through the exhibition.

Concept and design together with @bbastrange
Wooden Renny in the exhibtion by @oliverboualam

💧Oh look, it’s Renny! Also going by the name Rheini or Rini. They were our mascot in the Graduation Show design 21/22 of @hfg_ka

A river flow diagram guiding through the exhibition.

Concept and design together with @bbastrange
Wooden Renny in the exhibtion by @oliverboualam

💧Oh look, it’s Renny! Also going by the name Rheini or Rini. They were our mascot in the Graduation Show design 21/22 of @hfg_ka

A river flow diagram guiding through the exhibition.

Concept and design together with @bbastrange
Wooden Renny in the exhibtion by @oliverboualam

💧Oh look, it’s Renny! Also going by the name Rheini or Rini. They were our mascot in the Graduation Show design 21/22 of @hfg_ka

A river flow diagram guiding through the exhibition.

Concept and design together with @bbastrange
Wooden Renny in the exhibtion by @oliverboualam

💧Oh look, it’s Renny! Also going by the name Rheini or Rini. They were our mascot in the Graduation Show design 21/22 of @hfg_ka

A river flow diagram guiding through the exhibition.

Concept and design together with @bbastrange
Wooden Renny in the exhibtion by @oliverboualam

💧Oh look, it’s Renny! Also going by the name Rheini or Rini. They were our mascot in the Graduation Show design 21/22 of @hfg_ka

A river flow diagram guiding through the exhibition.

Concept and design together with @bbastrange
Wooden Renny in the exhibtion by @oliverboualam

Together with Bárbara Acevedo Strange (@bbastrange) we did the art direction and graphic design for this year’s graduation show @hfg_karlsruhe that was on view from June 2 to June 19, 2022

Exhibition design by @oliverboualam
Editorial office @lena_reitschuster
Programm & Coordination @mio__kojima & @chao54ngel
Audio Track @chao54ngel

Typefaces:
G2 Erika by @gruppo.due (@moritz.appich )
Leaves by @bbastrange
PicNic by @mariel.nils
Atelier by @luka08.eu

cartografía de sombras sobre puntos suspensivos

My video is now online as a contribution to the digital graduation platform graduation.studio @hfg_karlsruhe

It is part of my graduation project “The Ñandu’s Footprint”, originally conceived as a filmic installation encompassing a 3-channel film (22:37min), a spatial glossary and a drawing series.

The whole work is a journey which started with a research trip to Wallmapu/Chile 2019 shortly before the social uprising began. The editing process was accompanied by the anxiety of remotely experiencing the incredibly violent confrontations between protesters and armed forces. Simultaneously an encouraging discussion concerning other ways of living together exploded, paving the way for the current constitutional process that questions previous assumptions on the defining parameters of our lived reality.

The title is based on equivocation: The stars that trace the footprint of a bird on the southern hemisphere were interpreted by the colonizers as a cross – crux – which points towards the south. Such ontological dissonances form the core of the work.
In the specific case of Chile, they materialize as a neo-extractivist conflict where indigenous communities such as the Mapuche play a key role in the defense of the biodiversity.
Here, the bureaucratic tools of the Chilean State and the Mapuche claims of spatial and social organization rooted in traditional knowledge face each other in a multi-layered discourse.

I encountered diverse strategies of cultural and environmental resistance. Each is a contribution to a broader discourse about modes of coexistence of equally possible, but different forms of order, emerging from chaos. It becomes apparent that it is not rational argumentation but storytelling, ghosts and spirits that mediate between diverging worlds and become important agents for a collective resistance within a recent history marked by state oppression and violent corporate interventions.

The Ñandu’s Footprint is an attempt, an essay, on tracing a way of knowing that slips away from claims to univocal truth. It draws a map of an experiential learning process through the landscape, encounters and language.

cartografía de sombras sobre puntos suspensivos

My video is now online as a contribution to the digital graduation platform graduation.studio @hfg_karlsruhe

It is part of my graduation project “The Ñandu’s Footprint”, originally conceived as a filmic installation encompassing a 3-channel film (22:37min), a spatial glossary and a drawing series.

The whole work is a journey which started with a research trip to Wallmapu/Chile 2019 shortly before the social uprising began. The editing process was accompanied by the anxiety of remotely experiencing the incredibly violent confrontations between protesters and armed forces. Simultaneously an encouraging discussion concerning other ways of living together exploded, paving the way for the current constitutional process that questions previous assumptions on the defining parameters of our lived reality.

The title is based on equivocation: The stars that trace the footprint of a bird on the southern hemisphere were interpreted by the colonizers as a cross – crux – which points towards the south. Such ontological dissonances form the core of the work.
In the specific case of Chile, they materialize as a neo-extractivist conflict where indigenous communities such as the Mapuche play a key role in the defense of the biodiversity.
Here, the bureaucratic tools of the Chilean State and the Mapuche claims of spatial and social organization rooted in traditional knowledge face each other in a multi-layered discourse.

I encountered diverse strategies of cultural and environmental resistance. Each is a contribution to a broader discourse about modes of coexistence of equally possible, but different forms of order, emerging from chaos. It becomes apparent that it is not rational argumentation but storytelling, ghosts and spirits that mediate between diverging worlds and become important agents for a collective resistance within a recent history marked by state oppression and violent corporate interventions.

The Ñandu’s Footprint is an attempt, an essay, on tracing a way of knowing that slips away from claims to univocal truth. It draws a map of an experiential learning process through the landscape, encounters and language.

cartografía de sombras sobre puntos suspensivos

My video is now online as a contribution to the digital graduation platform graduation.studio @hfg_karlsruhe

It is part of my graduation project “The Ñandu’s Footprint”, originally conceived as a filmic installation encompassing a 3-channel film (22:37min), a spatial glossary and a drawing series.

The whole work is a journey which started with a research trip to Wallmapu/Chile 2019 shortly before the social uprising began. The editing process was accompanied by the anxiety of remotely experiencing the incredibly violent confrontations between protesters and armed forces. Simultaneously an encouraging discussion concerning other ways of living together exploded, paving the way for the current constitutional process that questions previous assumptions on the defining parameters of our lived reality.

The title is based on equivocation: The stars that trace the footprint of a bird on the southern hemisphere were interpreted by the colonizers as a cross – crux – which points towards the south. Such ontological dissonances form the core of the work.
In the specific case of Chile, they materialize as a neo-extractivist conflict where indigenous communities such as the Mapuche play a key role in the defense of the biodiversity.
Here, the bureaucratic tools of the Chilean State and the Mapuche claims of spatial and social organization rooted in traditional knowledge face each other in a multi-layered discourse.

I encountered diverse strategies of cultural and environmental resistance. Each is a contribution to a broader discourse about modes of coexistence of equally possible, but different forms of order, emerging from chaos. It becomes apparent that it is not rational argumentation but storytelling, ghosts and spirits that mediate between diverging worlds and become important agents for a collective resistance within a recent history marked by state oppression and violent corporate interventions.

The Ñandu’s Footprint is an attempt, an essay, on tracing a way of knowing that slips away from claims to univocal truth. It draws a map of an experiential learning process through the landscape, encounters and language.

cartografía de sombras sobre puntos suspensivos

My video is now online as a contribution to the digital graduation platform graduation.studio @hfg_karlsruhe

It is part of my graduation project “The Ñandu’s Footprint”, originally conceived as a filmic installation encompassing a 3-channel film (22:37min), a spatial glossary and a drawing series.

The whole work is a journey which started with a research trip to Wallmapu/Chile 2019 shortly before the social uprising began. The editing process was accompanied by the anxiety of remotely experiencing the incredibly violent confrontations between protesters and armed forces. Simultaneously an encouraging discussion concerning other ways of living together exploded, paving the way for the current constitutional process that questions previous assumptions on the defining parameters of our lived reality.

The title is based on equivocation: The stars that trace the footprint of a bird on the southern hemisphere were interpreted by the colonizers as a cross – crux – which points towards the south. Such ontological dissonances form the core of the work.
In the specific case of Chile, they materialize as a neo-extractivist conflict where indigenous communities such as the Mapuche play a key role in the defense of the biodiversity.
Here, the bureaucratic tools of the Chilean State and the Mapuche claims of spatial and social organization rooted in traditional knowledge face each other in a multi-layered discourse.

I encountered diverse strategies of cultural and environmental resistance. Each is a contribution to a broader discourse about modes of coexistence of equally possible, but different forms of order, emerging from chaos. It becomes apparent that it is not rational argumentation but storytelling, ghosts and spirits that mediate between diverging worlds and become important agents for a collective resistance within a recent history marked by state oppression and violent corporate interventions.

The Ñandu’s Footprint is an attempt, an essay, on tracing a way of knowing that slips away from claims to univocal truth. It draws a map of an experiential learning process through the landscape, encounters and language.

cartografía de sombras sobre puntos suspensivos

My video is now online as a contribution to the digital graduation platform graduation.studio @hfg_karlsruhe

It is part of my graduation project “The Ñandu’s Footprint”, originally conceived as a filmic installation encompassing a 3-channel film (22:37min), a spatial glossary and a drawing series.

The whole work is a journey which started with a research trip to Wallmapu/Chile 2019 shortly before the social uprising began. The editing process was accompanied by the anxiety of remotely experiencing the incredibly violent confrontations between protesters and armed forces. Simultaneously an encouraging discussion concerning other ways of living together exploded, paving the way for the current constitutional process that questions previous assumptions on the defining parameters of our lived reality.

The title is based on equivocation: The stars that trace the footprint of a bird on the southern hemisphere were interpreted by the colonizers as a cross – crux – which points towards the south. Such ontological dissonances form the core of the work.
In the specific case of Chile, they materialize as a neo-extractivist conflict where indigenous communities such as the Mapuche play a key role in the defense of the biodiversity.
Here, the bureaucratic tools of the Chilean State and the Mapuche claims of spatial and social organization rooted in traditional knowledge face each other in a multi-layered discourse.

I encountered diverse strategies of cultural and environmental resistance. Each is a contribution to a broader discourse about modes of coexistence of equally possible, but different forms of order, emerging from chaos. It becomes apparent that it is not rational argumentation but storytelling, ghosts and spirits that mediate between diverging worlds and become important agents for a collective resistance within a recent history marked by state oppression and violent corporate interventions.

The Ñandu’s Footprint is an attempt, an essay, on tracing a way of knowing that slips away from claims to univocal truth. It draws a map of an experiential learning process through the landscape, encounters and language.

*Ana Mariella Bacigalupo: Historical Consciousness, Myth, And History

So I realized that I’m back in Germany now...missing already the nice souls I had the pleasure to spend time with :’) thank you! Looking forward to see everyone soon again! #totziens #willkommen

So I realized that I’m back in Germany now...missing already the nice souls I had the pleasure to spend time with :’) thank you! Looking forward to see everyone soon again! #totziens #willkommen

So I realized that I’m back in Germany now...missing already the nice souls I had the pleasure to spend time with :’) thank you! Looking forward to see everyone soon again! #totziens #willkommen