Die Welt als Wald
Hace ciento sesenta años, Alfred Russel Wallace descifró el principio de la evolución de las especies durante viajes de investigación a Sudamérica y el sudeste asiático. Del 10 de noviembre de 2017 al 29 de marzo de 2018, la exposición especial Verschwindende Vermächtnisse: Die Welt als Wald [Herencias en desaparición: El mundo como bosque] confronta la destrucción de estos hábitats tropicales en el contexto del antropoceno y la extinción masiva.
Verschwindende Vermächtnisse: Die Welt als Wald
[ Disappearing Legacies: The World as Forest ]
First iteration of the three-part exhibition cycle
opens on 9 November 2017, 18h00
Centrum für Naturkunde (CeNak)
Zoologisches Museum Hamburg
Bundesstrasse 52
D-20146 Hamburg
One-hundred and sixty years ago, Alfred Russel Wallace deciphered the principle of species evolution during research trips to South America and Southeast Asia. From 10 November 2017 to 29 March 2018, the special exhibition Verschwindende Vermächtnisse: Die Welt als Wald [Disappearing Legacies: The World as a Forest] confronts the destruction of these tropical habitats in the context of the Anthropocene and mass extinction.
Reassembling the Natural
Reassembling the Natural is an ongoing exhibition-led inquiry into the “necroaesthetics” of contemporary natural history led by Principal Co-Investigators Anna-Sophie Springer and Dr Etienne Turpin. The project combines ethnographic research, fieldwork, archival study, and art-science collaboration in order to convene together and curate scientists, artists, and theorists from the Americas, Europe, Amazonia, and Nusantara for a sustained conversation about the future of “natural history” on Earth. The project takes as its objective a serious, transdisciplinary review of the concept of nature—including its role within the knowledge infrastructure of the sciences, its elaborate housing of myths and cultural heritage, and its consistent place within the arts and humanities—in the context of our accelerating planetary extinction. How can those fields of inquiry through which nature came to be shared, studied, and conserved in human cultures begin to reassemble knowledges among the fragmented worlds threatened by anthropogenic transformation? How can new forms of inquiry and collaboration begin to unground the assumptions of knowledge, futurity, and security which limit the discourse of our contemporary environmental crisis? How can we reassemble and exhibit an exemplary plea for a reconsideration of the natural and its vital role in visual culture, design, science and beyond?