British Society of Soil Science’s Post

What kind of record did we leave today? A photo taken looking at a clear sky, One like button pressed on a friend's photo posted on a social media account, A one-sentence reply to a message from a mother who was worried about her meals Today, in the digital age, we are creating countless records. Among the many records created using modern cultural relics, what does the Memory of the World made in the past mean to us today? The media art <Codex Cornucopia>, created by media artist Sammy Lee using various images and illustrations of the Memory of the World, asks you questions about the meaning of the Memory of the World through the artwork. The Memory of the World is embodied on a screen over 13 meters long in digital space. The exhibition <Into the Light : Memory of the World>, held in the exhibition hall on the second floor of the ICDH, will last until June 28.

Andre Breton In Front of the Curtain (2) To go back ten years is not only to identify, in the vortex surrounding the exhibition of ten years ago, something that fairly well expresses the spiritual climate of the year 1938, but also to identify the structure of the exhibition that corresponds to a plan, a plan that seeks to bring the tumultuous region that extends to the border between the poetic and the real into very general proximity within our psyche. The exhibition's structure, as such, can be accurately positioned in the context of the true vision of the exhibition - though, again, not the vision of art. The efforts of the exhibition organizers, in fact, tended to create, as much as possible, an environment oriented toward an "art" gallery. I emphasize the fact that they did not consciously follow any other order than the above. I emphasize the fact that they did not consciously follow any other imperative than the above, since, in retrospect, the totality of their attempts ultimately transcended their original intentions. Regarding the criticism of the time, which believed that the holding of the 1938 exhibition could be attributed, as usual, to the need to surprise and compromise the "snobbery" of the public, and which almost universally bemoaned the "gratuitousness," poverty, and bad taste of which we were more than once witnesses, we can say the following We can say the following. (Continue to next paragraph)

ROGER ACKLING: 'SUNLIGHT', a purely visual critical reaction to Roger's solo show at Norwich Castle, avoiding context and art history. The full article is on my website blog. Don’t ask ‘What does it mean’, ask ‘What is it?’ Roger Ackling’s exhibition ‘Sunlight’ was opened by Simon Ofield-Kerr with these words, and they feel like a glass of fresh water. No need then to refer to context, art history, his influences and friends. What are they? ‘Sunlight’ is a gentle word, caressing, evocative, but the sun is the monstrous atomic generator of our universe, powerful beyond imagination, obliviously pumping out energy whose effects are benign and destructive. Roger sits by the sea with his little mirror forcing the mighty sun along bits of weathered wood with his will and his steady hand. Line below line - you have to ask how he makes them so straight, so uniform, so mechanical. Why this size and not that? why horizontal? Burning so evenly is an act of controlled damage like cutting, and the lines are also a way of cross-hatching, drawing, the muscular connections between brain, eye and hand operating together.

📚 #NodeRecs: Echoing Exhibition Views: Subjectivity in Post-Digital Times. Edited by A.R. practice (Agnieszka Roguski & Ann Richter) When the exhibition enters the digital realm, as it is increasingly happening—when the display of art and culture can be enjoyed individually behind screens—then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity? Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. The digitized exhibition viewing is a starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. #DigitalArt #DigitalMseums #VisitingArtExhibitions #PostDigital #DigitalRealm #VirtualExhibitions #ArtTheory #ArtBooks

A reflection on the sustainability of art from the artist’s works~ While casting a critical eye on mass consumption society and the information society, Mishima's works, which transform information and garbage into artistic expression through the process of alienation, are created with a playful spirit from everyday life. The exhibition will feature a lineup of early collages, objects of "breakable prints," and recent works made from environmentally friendly materials. The exhibition's highlight will be Mishima's representative and largest installation work, "Memories of the 20th Century." This work, which consists of a large number of fireproof brick blocks densely spread across the floor, has newspaper articles that Mishima selected from the last 100 years of the 20th century transcribed onto the surface of each brick, literally visualizing fragments of memory from the 20th century, and also seems to be engraved with her own memories of facing that era. Nowadays, it also makes us look at the issue of art and the environment as a whole, not as a dichotomy, but as a way of rethinking human beings' destruction of the environment. #mishimakimiyo

Public art plays a crucial role in shaping our environment—though many may not consciously realise this. Recently, Artelier's curators and I took a team trip to London, exploring the city's public art scene and its most influential works. Our journey led us to the Fourth Plinth, a rotating site that hosts some of the most daring temporary public art. While standing there, we discussed its strength as the archetype of public art in London. It's great art that speaks to the community, yet it's also daring. Though public artworks like those at the Fourth Plinth enjoy a unique freedom of temporality, we hold the same philosophy across all our public art projects - great art should engage with its surroundings, challenge the norm, and spark conversation. After all, what makes better art? Something safe and unnoticeable, or something that stands out, packs a punch, and ignites conversation? Find out more in our article below. https://buff.ly/3CSWfIF ___ #Creativity #UrbanDevelopment #Innovation #PublicArt #ArtConsultant

Art with glass bocks. "In EVOLUTIONS the Danish-Australian artist duo Studio ThinkingHand, presents a series of narratives showing nature as a freely growing network of interconnected intelligences. In the exhibition, Studio ThinkingHand have based their work on scientific research movements, which are currently redirecting our understanding of the Theory of Evolution from a linear process of development to something more random, chaotic and complex. Recent research indicates that evolution is going on all the time, as a surge of simultaneous relations and adjustments, creating hybrids between species. The exhibition examines whether rewriting our beginnings can open up possible new directions for the world of the future." RHODA TING & MIKKEL BOJESEN Learn more: https://lnkd.in/dRQJ8TaP

Art is important because it speaks to us in a way that transcends linear, causal thinking, offering us an experience rather than an explanation. We can feel art, and we can moved by it, without needing to understand why. Art opens up multiplicities of meaning, and is enriched by every interpretation. Like a well, it offers all who comes their own drink. https://lnkd.in/eXTb_G2G

In our virtual seminar on 31 Oct Richard Hawkes looks at the changing nature of the work of the independent paper conservator from traditional restoration of prints and watercolours to the present dominance of the contemporary art market. The challenges include large, machine-made papers and the use of inherently unstable materials. Richard Hawkes has been developing the use of modern, digital technology to create archival-quality facsimiles of documents and manuscripts for use in museum displays. The increasing realism and detail achievable means that light sensitive materials can be replaced with copies – thereby allowing longer periods of display. The possible future of this area and the ethical considerations are discussed. https://lnkd.in/dmb8CQYC

Pallant House Gallery The Shape of Things questions the idea that still life is a lesser genre, showing how important it is to artists and society. Featuring a ‘Who’s Who’ of Modern and Contemporary British artists, the exhibition digs into still life’s rich symbolism and how it’s pushed boundaries and new ideas. The exhibition shifts from 17th-century ‘vanitas’ paintings to post-impressionism to abstraction and from pop to conceptual art. It invites viewers to think about life’s challenges, such as love and grief, identity and the subconscious, life and death and plenty and waste. Today, these challenges also include biodiversity loss, the legacy of colonialism, and climate change. On display are a selection of works by modern and contemporary artists in Britain including Hurvin Anderson, Vanessa Bell, Edward Burra, Patrick Caulfield, Lucian Freud, Gluck, Duncan Grant, Richard Hamilton, Mona Hatoum, Jann Haworth, David Hockney, Lee Miller, Paul Nash, Ben Nicholson, William Nicholson, Eric Ravilious, Anwar Jalal Shemza, William Scott, Walter Sickert, Stanley Spencer, Edmund de Waal, Rachel Whiteread and Clare Woods. The exhibition looks at how these artists have used traditional art history to express the complexities of the human condition. Phoebe Cummings, an artist working with clay, has created a site-specific installation for this exhibition – Phoebe Cummings: I hear myself with my throat Until 20 October 2024