An Analysis of The Human-Nature Relationship in Contemporary Japanese Art

In the Anthropocene Era there is no space for interaction between human and nature: natural landscape and social landscape are conceived as two separate and distinct entities, and the ecosystem as a raw material to be shaped and exploited under the domination of man. Faced with the self-destructive tendencies of modernity, more and more artists on the contemporary scene are crying out for a return to nature that has its roots in indigenous traditions.

Emblematic in this dialogue is the role of contemporary Japan, which in rethinking the relationship between humans and nature finds itself redefining the ownership of its own national identity after centuries of industrialization and cultural colonialism. The return to nature leads him to recall his animist tradition, which currently takes the form of a post-modern animism: an abolition of the human-nature dualism in the technological present, with spaces for interaction and mutual influence without pre-established boundaries.

Inspired by the approach adopted in the Pera + Flora + Fauna exhibition which resonates the sensibility and power of the primitive voice, I have selected a series of Japanese artists and collectives who aspire to awaken ecological awareness by inviting the viewer to enter into symbiosis with natural phenomena and to interact with snow, water, fog, flowers, and forests. Through the power of art, the viewer is immersed in a reality in which he participates emotionally and bodily.

“There is another kind of art that talks about the power of connection and establishes bonds, the art that calls us to relate.”

Suzi Gablik

The return to nature starts with Tokujin Yoshioka and the shift from a material world to a spiritual world, made of emotions and collective memory. It then follows with Takashi Kuribayashi and the physical reversal of the human perspective placed above nature, revealing the artificiality of such separation. Then we will get to walk and dance inside the poetic artificial atmospheres of Fujiko Nakaya and finally, to the art collective TeamLab, which through its ultrasound spaces of digitalized nature, creates art that truly is without borders.

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This gallery contains 2 photos.

The Practice of Craftsmanship through Perak and Venice. The project aims to link Malaysian and Venetian craftsmanship. After in-depth research about the use and processing of materials in both regions, we decided to work on a traditional object of Perak called Labu Sayong, to which we added new characteristics. Continue reading


Performance and Artists Talk
by Lisbeth Karline Poulsen and Naleraq Eugenius

26th November 2022 | 6:00 PM

Kingorngussaq-arv which means “Heritage” when literally translated into the English language touches down on the current issues happening in Greenland. The event was divided into two parts, a performance followed by a talk from the artists.

The talk discussed the Inuit culture, from the Inuit tattoo, mask dance, beading, and more. These subjects are in close relation to our Inuit culture, now having a strong revival. The artists talked about the multicultural aspect, of being part Greenlandic and part Danish, being a minority.

The performance, on the other hand, was delivered in a way to show that we are and always will be in close relation to the nature that surrounds us. From the performance, the artists intended to express vibes from nature, the hybrid between humans, buildings, and nature by using body movements, lights, and image projections. Nature and everything that comes together with it is the heritage from our ancestors given to us and we are responsible for their future.

Lisbeth Karline Poulsen was born in 1981 in Nanortalik. She attended the Art School in Nuuk, starting in 2004, and later completed her education as a visual artist at Aarhus Art Academy. She has been living in Nuuk since 2011, working as an artist. In 2013, a painting by Poulsen was chosen as the Greenlandic Christmas seal by the Greenlandic Christmas Seal Foundation, and in 2016 she became a member of KIMIK, the Association of Greenlandic Artists.

Naleraq Eugenius was born in Ilulissat, Greenland in 1986. He became the first Greenlandic theatre technician, specialized in lighting, and graduated in 2014 from Aarhus Tech (Technical University of Aarhus). He has designed numerous productions and been part of the important lighting teams.

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Living Tree Circles

Indigenous and Non-Indigenous Communities Walking together

Circles are sacred forms to many global Indigenous communities. Indigenous peoples such as the Oromo communities in Ethiopia have observed that the circle is a dominant symbol in Nature and has come to represent wholeness, life cycles, and metaphorically the circle can extend to spiritual beliefs and a way of understanding time continuums.

In this way, time is not linear for the Oromo people. It is circular and it rotates like the Earth in its own orbit. The same is true of Oromo law, Gaada. The Oromo peoples see, live, and respect their world operating in cycles or interlocking circles. As such the concept of circular time and learning eludes to knowing the past, present, and future as an assembly of equal parts that function and must be considered together.

In Oromo culture, there is a phrase that governs all life of Oromo society. It has been passed from generation to generation “safuu, aadaa fi duudhaa“. This phrase is repeated amongst the Oromo reminding them to cherish the past and shape the future with respect to human and flora-fauna rights. Ultimately, the message is: we must protect Nature as it is part of us, and we must value Nature as we are a part of it. A philosophy of interconnectedness and interdependence is understood by the Oromo.  As we move forward to face climate challenges, we need to remember to embrace compassion, commitment, responsibility, and co-operation to work together to build resilience.

Living Circles – circular knowledge, kinship and care
performance of learning, compassion, commitment, responsibility, and cooperation  

Photos from the Living Tree Circle performance at the pre-opening of the 59th Venice Biennale.

Braiding Indigenous and artistic knowledge

Oromo communities in Kofele District, represented through Rural Association for Betterment of Agro-Pastoralists (ROBA) under the care and direction of Hussein Watta, have been collaborating with climate artists Sylvia Grace Borda (Canada) and J. Keith Donnelly (Scotland). Together, the climate artists and collaborators braid two types of world knowledge, bringing together non-traditional and traditional Indigenous as well as creative practices and lived experiences in order to create equitable processes to strengthen culture, increase ecosystem service resilience, and bring climate hope to the foreground.

In the context of the Venice Biennale tradition, this performance underlines the important role of creative and artistic practitioners (both non- and Indigenous) and how they can foster and share knowledge to problem-solve local and world challenges that we continue to face, not least the threat of ecological and connected losses.

Indigenous and guest participants walk in circles around a tree sapling plant placed in the center of the plaza next to the Pera + Flora + Fauna venue. In this symbolic performance, global Indigenous community members and participants form a circle of kinship with Indigenous knowledge and land care.

The action is also done in solidarity with and acknowledgment of Indigenous resilience such as the collective climate actions of Oromo Ethiopian participants, ROBA, and climate artists (Borda&Donnelly), who are co-creating real-world examples of kinship across communities, art, and nature to address critical biodiversity and climate challenges.

The people performing the tree circle become part of the collective process and part of the living circle and the knowledge transmission it represents.

Co-Creating a Cultures of Stewardship: Observation and Acts of Language and Art
Symposium and workshop. November 17. Okanagan College, Vernon, B.C. Canada.

Presenters, Ramadan, Wako, and Borda, shared lessons in the development of knowledge exchanges to support traditional Indigenous knowledge and climate justice through the written and visual arts between Indigenous and non-Indigenous partners, detailing economic, civic and societal impacts.    

Screen shot:  A slide view from Sylvia Grace Borda’s presentation summarising the UN definition of Indigenous people in order to provide attendees with an introductory understanding of cultural values. November 17, 2022. Image courtesy: Sylvia Grace Borda.

Screenshot: Khaled Ramadan, Co-curator, PERA+FLORA+FAUNA exhibition, Venice Biennale
November 17, 2022. Image courtesy: Sylvia Grace Borda.

Screenshot: Jemmal Wako providing an overview of Oromo Indigenous law, beliefs, and language. November 17, 2022. Image courtesy: Sylvia Grace Borda.

Screenshot: Sylvia Grace Borda started the workshop speaking about cultural development, knowledge exchange, and representation with Indigenous communities through project-based learning. November 17, 2022. Image courtesy: Sylvia Grace Borda.

Ownership of History

Friday 21st of October at 16:00-19:00
Satellite Event with exhibition at AllArtNowLab
Älvkarleövägen 6, (Ropsten t-bana – exit Hjorthagen), Stockholm, Sweden

Contributors: Stefano Cagol, Kapallorek Art Space, Projek Rabak, Kamal Sabran
Organizers: Abir Boukhary and Khaled Ramadan. Part of “Curatorial”.
Supported by Kulturrådet and in collaboration with Botkyrka Konsthall.


Several former Western colonial nations still have a very strong interest in the telling of history, doing so while bolstering coloniality in every sector of their societies, portraying colonialism as a grand civilizing achievement, cementing their own colonial history as a “civilizing agent” that carried out an urgent operation to save the world, as explained by the founder of the Third Text journal, artists and theorist Rasheed Araeen.

Former colonial nations continuedly to claim authorship and ownership of historic narratives, proudly celebrating their own documentation of these historic events. However, while they perceive the ownership of history as a matter of national heritage and their storyline is considered accurate and the most factual bright and right, the colonialist narratives remain biased and doubtful in the eyes of all colonized nations with no exception.

Until today, few former colonial nations offer to open up their colonial archives, offer to return the artifacts they looted from other countries, or simply offer an apology to the countries they colonized. Among these many are still colonized in proxy and suffering from underdevelopment, economic problems, starvation, and ethnic conflicts. This is for instance the case in several African countries and in the Middle East. Ironically both are colonial terms of generalization, founded and cemented into the consciences of these regions by colonial powers till this very day. 


If we wonder what really took place during colonial times, there is perhaps a way to open up all colonial archives, including the massive amount of audio-visual material, despite the consequences. It is said that history has no lawyers, but it has witnessed. In this case, the massive volume of audio-visual documentation of historic events that took place across almost all former colonies, (ironically documented by the colonizers themselves) is our living witness. Therefore, they are in demand and occasionally brought up by most of the colonized nations. The latest demand in 2022 was by Algeria demanding that France releases its colonial archive and returns what it has looted from Algeria, including artifacts and human remains.

North African Arab countries have been absent in any wealth return progress or promises. The demand was met by France with refusal, which led to the cancellation of President Emmanuel Macron’s visit to Algeria in 2022.

Back to the audio-visual documentation of historic events, what has been revealed shows the tremendous atrocities, land confiscation, treasure looting, and systematic destruction of the colonized nations’ culture and heritage. Therefore, the documentation acts as self-condemnation of the colonizers. That is why a country like France categorically refuses to open its colonial archive.

Despite the strong and controversial evidence, an attitude of unapologetic denial remains mysteriously intact, and when a formerly colonized nation demands an apology, it is met with economic sanctions, or even punished like in the latest case of Mali. However, we have seen positive signs from the Vatican. Lately, an apology was issued by the Pope to indigenous communities across the world. I shall get back to this later in the text.

In addition to the above practice, mainstream Western media and academia often support a Western narrative of historical events, including teaching a biased narrative of history in classrooms. Within the same context, especially when confronting a larger untrained public, some professional historians claim an absolute monopoly of historic human narratives. This tendency unfortunately helps cement the writer-narrator’s saga of human history seen from one point of view.

The suppression of others’ sagas of historic events makes us question why and in whose interest such practice is taking place. Can the truth lie in the traditional Western historiographical attempt to offer its own fact, learning, and interpretation of historic events simply to cover up the mass atrocities committed by colonial powers against native populations across the globe? If this is the case, we are actually witnessing another form of atrocity – an educational crime based on the continuation of an old colonial practice: You read and learn my truthful story about your history.

Stateless Mind: Bodies of Knowledge

18-22 October. Archivi della Misericordia. Cannaregio 3549. Venice, Italy.
Live performances and video screenings.

Stateless Mind: Bodies of Knowledge is a performance and video program bringing together artists based in the Nordic countries, the Netherlands, and the UK who come from and think with places beyond. Their works engages with embodied, cultural, and vernacular knowledge that have been carried over generations of diasporic movements transversing Southeast Asia, East Asia, and Melanesia.

Stateless Mind: Bodies of Knowledge
diasporic embodied and vernacular knowledge

18 — 22  October  2022
Archivi della Misericordia
cannaregio 3549, Venice, Italy

A satellite event of
Pera + Flora + Fauna, 59th Venice Biennale Collateral Even

Organised by Jambatan in Copenhagen, Stateless Mind: Bodies of Knowledge is conceived as a satellite event in response to the Pera+Flora+Fauna exhibition, which is an official collateral event of the 59th La Biennale di Venezia. The programme featuring 14 artists will take place over 5 days from 18 October to 22 October 2022 within the exhibition of Pera + Flora + Fauna at the Archivi della Misericordia and its surroundings.

Artists: Bettina Fung (United Kingdom/Hong Kong), Finn Maätita (Netherlands/Melanesia), Honey Kraiwee (Netherlands/Thailand), Jessie Jing (United Kingdom/Malaysia), Kent Chan (Netherlands/Singapore), Kiss Lavin (Denmark/Indonesia), Lilibeth Cuenca Rasmussen (Denmark/Phillippines), Noel Ed De Leon (United Kingdon/Phillipines), Pavana Reid (Norway/Thailand), Ribka Maria Pattinama Coleman (Denmark/Indonesia), Shaq Koyok (Malaysia), Stefan Osterjo and Thuy Nguyen (Sweden/Vietnam), Yin Yin Wong (Netherlands), Yong Sun Gullach (Denmark/Korea).

The program is curated by Jo-Lene Ong (Netherlands/Malaysia), Amir Zainorin (Denmark Malaysia), and Annie Jael Kwan (United Kingdom/Singapore).


18 OCTOBER 2022
18:00 Stefan Osterjo and Thuy Nguyeno
18:30 Stefan Osterjo and Thuy Nguyen
            Yellow music in diaspora

19 OCTOBER 2022
15:00 Pavana Reid
16:00 Shaq Koyok
Surat Untuk Hutan (Letter to the Forest)
16:45 Thuy Nguyen
           Echoic Memory (19 mins)

20 OCTOBER 2022
15:30 Kiss Lavin

16:00 Yong Sun Gullach
          Searching with a homeless body
17:00 Honey Kraiwee
Why are you here?
17:30 Kent Chan
Five Stories on Heat

21 OCTOBER 2022
13:00 – 14:00 Noel Ed De Leon
                     Uncertain Respite
                     (at Strada Nova to Archivi della Misericordia)
15:10 – 15:40 Bettina Fung
Land as Anchor
16:00 – 16:15 Jessie Jing
Body Clippings
17:00 -18:00  Yin Yin Wong
                     Lotus Flower
Finn Maätita
My Name Is The One Who 

22 OCTOBER 2022
15:00 – 15:15 Lilibeth Cuenca Rasmussen
15:30 – 15:50 Ribka Maria Pattinama Coleman
We travelled the distance


Bettina Fung (United Kingdom/Hong Kong)
Finn Maätita (Netherlands/Melanesia)
Honey Kraiwee (Netherlands/Thailand)
Jessie Jing (United Kingdom/Malaysia)
Kent Chan (Netherlands/Singapore)
Kiss Lavin (Denmark/Indonesia)
Lilibeth Cuenca Rasmussen (Denmark/Phillippines)
Noel Ed De Leon (United Kingdon/Phillipines)
Pavana Reid (Norway/Thailand)
Ribka Maria Pattinama Coleman (Denmark/Indonesia)
Shaq Koyok (Malaysia)
Stefan Osterjo and Thuy Nguyen (Sweden/Vietnam)
Yin Yin Wong (Netherlands)
Yong Sun Gullach (Denmark/Korea)

Indigenousness. Dialogue between Environment, Art and Identity

24 September 2022. 5:00 PM (Italian Time). A talk curated by Chiara Bozzato and Virginia Padovani will be taking place at the Archivi della Misericordia (Fondamenta de l’Abazia, 3548, Venice) on the theme “Indigenousness. Dialogue between environment, art and identity”. The talk is part of the Pera+Flora+Fauna collateral event of the 59th International Art Exhibition – La Biennale di Venezia – organized by PORT, the cultural agency of the state of Perak, Malaysia.

The panelists:

Stefano Cagol, an Italian artist invited to the Malaysian pavilion with the work “Far Before and After Us” (2022), explores the relationship of man – and the indigenous – with the environment and the attempt to enter into symbiosis with the latter, continuing his reflections fueled by contact with the indigenous Sami population during his residency in the Arctic. The project emerges from the research “The Time of the Flood (Beyond the myth through climate change)”, Postmediabooks, 2021, where the artist faces the imbalances of our relationship with nature inspired by the archetypal image of the Universal Flood.

Professor Franca Tamisari, professor of Anthropology at the Ca’ Foscari University of Venice, has been conducting research among the Yolngu people in Australia since 1990. She is interested in the aesthetic, artistic, and performative dimensions of indigenous people, as well as the concept of care related to relations of kinship. On the subject she published the paper “Yolngu Country as a Multidimensional Tangle of Relationships How ‘Everything is Linked to One Another'” within Lagoonscapes, Venice Journal of Environment Humanities, vol. 2 – Num.1, June 2022.

Pengpeng Wang is a Chinese artist and curator who lives between Florence and Salerno, where he is currently a Ph.D. student in Aesthetics and Art History, jointly with MARA University in Malaysia. He is writing his Ph.D. thesis on the national participation of Malaysia in the Biennial Art of Venice, deepening the political-art link, from the moment when Malaysia participates in 2019 for the first time, after great internal political changes. Pengpeng Wang will virtually intervene with a prerecorded video contribution related to his research.

Primitive Sense Art Festival

August 20 [Sat] – 28 [Sun], 2022

Eve Festival: August 27 [Sat]
Main Festival: August 28 [Sun]

Venue: Lake Kisaki, Shinano Kodo, Shinya Nishimaru Memorial Hall, Mima Soufukan, Lake Kisaki POWWOW, Tokiwa no Ie, and other locations in Omachi City, Nagano Prefecture

The Water Forerunner

The Shinano Primitive Sense Art Festival, now in its 13th year, will be held under the theme of ”The Water Forerunner”. It creates a story of the land invoked by standing in a place of improvisation. We aim to create a festival that reminds all visitors to the land of water that they are all expressionists in every form.

Primitive Sense

When people face straight to nature, a primitive sense will return to our feelings. Fine art is born at that moment. “Nature” is not only outside of us, it contains the life of ourselves, inherited from the origin of life. The true richness is that there is beauty in the living that has been inherited from the Jomon period. 

We will create a local “culture” by staying on the shore of Lake Kizaki, which is surrounded by the majestic nature of the Japanese Northern Alps and create expressions that can only evolve in the meeting with local people living there. The purpose is to create a festival as a cultural boundary that connects the outside and the locals, connects art and tradition, cities and regions.

Organizer: NPO Primitive Sense Company
Support: Nishimaru Shinya Memorial Hall
Artistic Director: Shinji Asai
Art director: Nobuyuki Sugihara
Program Director: Taeko Mori
Coordinators: Masao Kusabuka, Ayaka Suzuki
Supported by: Asahi Shimbun Cultural Foundation

Venice Biennale Eco-Art Review

21 July 2022. Join us on: US: 10:00am PT, 11:00am MT, 12:00pm CT, 1:00pm ET. EUROPE: 17:00 GMT Australia: 4am AEDT, Thursday.

This will be an incredible gathering of curators from this year’s Venice Biennale who are engaged with artists and current discourse on how art can play a role in decolonizing nature. As well as, members who have attended the Biennale that will act as respondents. It is an opportunity to understand the changing role of art and representation of artists at the most prestigious international art event on the planet.

Main exhibitions to be presented/discussed

Turba Tol Hol-Hol Tol at the Chile Pavilion, Arsenale, Photo: Patricia Watts

Turba Tol Hol-Hol Tol in the language of the Tierra del Fuego’s indigenous Selk’nam people, means the “heart of peatlands.” The exhibition includes artists Ariel Bustamante, Carla Macchiavello, Dominga Sotomayor, and Alfredo Thiermann and immerses us in a material and ancestral experience of the Patagonian peatlands through a large multisensory installation and scientific experiment. review of Turba Tol Hol-Hol Tol by Monika Fabijanska

Pera + Fora + Fauna, collateral event, installation shot at Archivi della Misericorida
Photo: Khaled Ramadan

Pera + Flora + Fauna, a official Collateral Event featuring Malaysian artists and collectives including: Azizan Paiman (MY), Kamal Sabran (MY), Kapallorek Artspace (MY), Kim Ng (MY), Projek Rabak (MY), Saiful Razman (MY) and Stefano Cagol (ITA), with the contribution and participation of the people of the Semai tribe from Kampung Ras, Sungkai, Perak.

Anders Sunna, Illegal Spirits of Sápmi, at The Sámi Pavilion, Giardini, Photo: Patricia Watts

The Sámi Pavilion, featuring the Sámi artists Pauliina Feodoroff, Máret Ánne Sara and Anders Sunna; celebrating the art and sovereignty of the Indigenous Sámi people, whose nation extends across the Nordic countries and into the Kola Peninsula in Russia.

Questions that these exhibitions evoke

How are indigenousness and nature affected by mainstream cultural attitudes of industrialised nations, the very nations contributing to existing environmental problems?

Can aesthetic thinking support the conservation and restoration of nature or indigenous rights and ways of life?

Can indigenous populations across the globe challenge the mainstream documented (art) history written by the non-indigenous?

Can indigenous populations achieve the liberty to collectively claim “their own history and narratives”, antagonizing the dominant discourse?


Camila Marambio is a private investigator, a permaculture enthusiast, an amateur dancer, and a collaborative writer. In 2010, she founded the nomadic research program Ensayos on the archipelago of Karokynka/Tierra del Fuego, at the southernmost tip of South America. Ensayos brings together artists, scientists, activists, policy makers and the local community to exercise speculative and emergent forms of eco-cultural ethics at the world’s end. Work from Ensayos includes a scent, a periodical, experimental performance, a podcast, and a web series. Through her curatorial practice she strives to support the livelihoods of the communities, water, and lands where she does research and lives. As the first Guest Curator of the Extended Research Project at the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America of the Museum of Modern Art (MoMA) in 2020, she hosted the Aconcagua Summit. Marambio hold a PhD in Curatorial Practice from Monash University, Australia (2019), a Master of Experiments in Arts and Politics from Science Po (2012) and an MA in Modern Art: Critical Studies from Columbia University (2004).

Khaled Ramadan is currently guest lecturer at Lund University, Sweden, and examiner for the Higher Artistic Educational Program, Denmark. He was previously senior consultant at the Danish Arts Council, the Maldives Ministry of Culture, NIFCA, and evaluator of Alto University professorship program. Ramadan was appointed as the curator and co-curator of Pera + Flora + Fauna at the 59th Venice Biennale, the Maldives Pavilion at the 55th Venice Biennale, Manifesta 8 in Spain 2010, Guangdong Museum of Modern Art, Museo Nacional Centro de Arte Reina Sofía, and Kumho Museum of Art, Seoul. Ramadan is the author of Peripheral Insider, Copenhagen University Press, 2007, and co-editor of Journalism in Times of War, Al Jazeera TV Media Institute, Doha 2018. He’s also a member of International Association of Art Critics (AICA) and the Royal Danish Academy of Art Society, as well as co-founder of Laterna Magica Museum for Visual Knowledge, Denmark, and the curatorial collective Chamber of Public Secrets, with Alfredo Cramerotti 2004. Born in Beirut, Ramadan works between Europe and Asia, and is a MENA region filmmaker, curator and cultural writer.

Mestizo Dispossessed

18-30 July 2022, AOC F58 Galleria Bruno Lisi, Roma.

Ismael De Anda III in collaboration with Eugene Ahn.

Mestizo Dispossessed is an installation utilizing digital technology, investigating notions of territorialization / re-territorialization / de-territorialization. It intersects imagery from the U.S. / Mexico Gateway where Ismael de Anda III was raised, incorporating augmented reality features and aerial imagery of de Anda’s ancestral family farm on the banks of the Rio Grande / Rio Bravo River on the hinge of the U.S. / Mexico Gateway. Organized by interactive media artist Eugene Ahn.

Curated by Camilla Boemio, Associate curator of Pera + Flora + Fauna.

With a few days left for our project at AOC f58 Galleria Bruno Lisi, we invite you to use the following link that gives access to the augmented reality features in our exhibition.

Visit: Augmented Reality at Mestizo Dispossessed (

A Satellite Event for Pera + Flora + Fauna, an official Collateral Event at the 59th International Art Exhibition – La Biennale di Venezia

Port Perak Venice, together with AOC F58 Galleria Bruno Lisi, presents Mestizo Dispossessed curated by Camilla Boemio, a satellite exhibition in Roma by artists Ismael de Anda III and Eugene Ahn. This seminal program is part of Pera + Flora + Fauna: The Story of Indigenousness and the Ownership of History.

Brito Family Farm + Presidio, Texas / Ojinaga, Mexico + Los Angeles + El Paso del Norte Gateway + Roma + AOC F58 Galleria Bruno Lisi, Roma.

Opening Monday 18 July 6.30-8.30 PM
Continues 19-30 July 2022
Open Monday-Friday 5:30 PM – 7:30 PM

AOC F58 Galleria Bruno Lisi, Via Flaminia, 58 00196 Roma

The official poster for Mestizo Dispossessed
A satellite exhibition in conjunction with the Pera + Flora + Fauna collateral event 
Biennale Arte 2022

Mestizo Dispossessed, incorporates elements of de Anda & Ahn’s on-going project Revolutions Generators, where a re-imagined layered digital silhouette of the brutal metal turnstiles are transformed into antennae-like, satellite-esque, levitating forms, that are symbolically, forcefully yanked out of the ground, removed as barriers and released into the air as freely spinning entities.

The installation features a collection of twenty-five digital collages printed on aluminum, mixing a collection of lands that de Anda and Ahn have visited and imagined.

The individual aluminum prints are hung on a grid to produce a larger collective design, revealing a puzzled together image of the metallic pronged, cramped, spinning, turnstiles used at U.S/Mexico points of entry to herd/usher people across imposed boundary lines.

These “Revolutions Generators” forms are visible throughout the digital collage and as hanging sculptural silhouettes that can be captured with cell phones activating augmented reality features where elements of the Brito family farm and animated Revolutions Generators can be virtually superimposed throughout the exhibition, the gallery’s immediately surrounding areas of Roma’s Piazza del Popolo, other areas of Roma, and extending outward to wherever the viewer may travel or inhabit. The augmented reality feature may be available for a limited time after the end of the exhibition to signify the shifting, transitory, ephemeral, delineations of marking, territorializing, re-territorializing, de-territorializing, possessing, dispossessing features of lands and spaces.

Using emerging technologies and media, Mestizo Dispossessed utilizes the Brito family farm as a lens for the shifting history of the encounters between the indigenous and settling groups of the region, as well as the shifting of geological territory should be influences of nature.

Another area of the exhibition features a lenticular diptych of Revolutions Generators forms interacting with imagery depicting the use of machines in armed struggle. The lenticular artwork invites participants/ visitors to engage in an active dispossession of the work by taking away parts of a twin lenticular divided image as an act of removal and transfer of ownership. The lenticular artwork also releases a virtual reality scene of recently ravaged areas of the Ukraine where the battle against colonization by Russia is being waged.


About the artists:

Ismael de Anda III born in El Paso, Texas, works and lives in Los Angeles. Using mutant practices, including digital photo-collage, drawing, painting, sculpture, installation, and interactive, site-specific projects, Ismael de Anda III’s work is inspired by his pluralistic upbringing on the U.S./Mexico Gateway and now living in Los Angeles. He has exhibited his work internationally including AOC F58 Galleria Bruno Lisi, Rome, La Estacíon Arte Contemporáneo, Chihuahua, Mexico, Supermarket 2022 Art Fair in Stockholm, and in the U.S. including the Torrance Art Museum, Lux Art Institute, and Durden and Ray. Recently de Anda has participated in several online virtual and drive-thru exhibitions. Lectures of his work include the 2020 International Textile and Apparel Conference, and as a visiting artist for CalArts and Los Angeles City College in 2021. De Anda is the recipient of a California Community Foundation Fellowship for Visual Artists. Often de Anda’s works are site-specific, inspired by the communities in which they are created, using locally sourced materials.

Eugene Ahn lives and works in Los Angeles. Eugene Ahn explores the intersections of material and virtual by creating systems and experiences that question modes of perceiving, thinking, and being. His work is interactive, immersive, and personal, with an interdisciplinary approach that attempts to understand and critique norms from a holistic position. Leveraging logic, math, story, and myth, Ahn seeks to re-engineer the encounter with the visual, the textual, architecture, object, Internet, and the very notion of idea. For more than two decades as an information architect and web developer, Ahn has created content management solutions for arts and education, supported music album marketing campaigns for the record industry, and built software managing global supply chain production in the apparel manufacturing industry. He has created web-based technology to deliver publishing and collaboration tools by and for youth and for the global diaspora of the exploited and victimized, including HIV/AIDS orphans and war survivors.

Together de Anda and Ahn have collaborated on projects Revolutions Generator for the Visual and Media Arts Gallery at Los Angeles City College, Revolutions Generator Evolutions for the exhibition Betwixt and/or Between at the Angels Gate Cultural Center Gallery, San Pedro, California, and Revolutions Generator Re-evolutions for the event High Beams 5 held on the rooftop for Los Angeles’ downtown historic Bendix building.

Camilla Boemio is an art writer and curator who has curated projects around the world, from Los Angeles to Odessa, Ukraine. She is a member of AICA (International Association of Arts Critics). She is co-associate curator at Pera + Flora + Fauna. The Story of Indigenousness and Ownership of History, an official Collateral Event at 59th International Art Exhibition: La Biennale di Venezia (2022). In 2016, she was the curator of Diminished Capacity the first Nigerian Pavilion at the 15th International Architecture Exhibition La Biennale di Venezia; and in 2013 she was the co-associate curator of Portable Nation. Disappearance as work in Progress Approaches to Ecological Romanticism, the Maldives Pavilion at 55th International Art Exhibition La Biennale di Venezia. In 2018, she took part in the VVM at Tate Liverpool.

Graphic Designer: Virginia Padovani, Pera + Flora + Fauna internship student.

Technical SupportParvus Ager
The “PARVUS AGER” farm with the singular Latin name “SMALL CULTIVATED FIELD” actually has an extension of 54 hectares, located on the outskirts of Rome in the heart of Parco Appia Antica, an area already cultivated with vines by the peoples pre-Roman, strongly imbued with history, art and tradition.
PARVUS AGER is a family business run with love and passion by the Lulli family, four generations of winemakers, firmly convinced that good wine, just like art, solicits the soul!

Key dates:

Tuesday 18 July 2022, 6.30-8.30pm: Opening of Mestizo Dispossessed, satellite event of Pera + Flora + Fauna, an official Collateral Event of 59th International Art Exhibition La Biennale di Venezia

For press enquiries please contact AAC Platform secretary +39 333 3021151


Instagram: @portperakvenice @aocf58galleriabrunolisi @camillaboemio @isameldeandaiii @aocf58 @parvusager @onethousandlifetimes