There will come soft rains


Soft Rains – 
Soft Rains – 

"This Is Not Water" - Hydropower Conflict Centre in Times of Green Paradox


Janosch Birkert


For thousands of years, man has tried to make natural environment fit for his use by shaping it to his needs. For several centuries, technological progress has enabled mankind to control a large part of natural environment on our planet and to transform its consisting naturalness into economic or social added value. In many places this has led to new ecological states, which carry with them not only a complete loss of biodiversity, but cause also nature to adapt and function artificially. Hydropower is part of this story of man’s use of natural resources. In recent decades, hydropower projects have undergone increasing expansion which is influencing relationships between nature and humans at a global level. What can be done in times in which local action and global thinking are no longer possible without taking each other into account? Background In 2016, hydropower plants with a total capacity of 31.5 GW were installed worldwide. In South America, expansion tripled compared with the previous year. Several drivers are responsible for this development. In addition to national interests, the need for independence from international energy markets and the expansion of renewable energies, security of supply for energy-intensive heavy and large industries play a particularly important role. In Peru's mining regions, for example, major projects amounting to 1000 MW were installed.[1]  Globally, approximately 4100 TWh of electricity are generated annually by hydroelectric power plants, which currently represent the largest source of renewable energy and corresponds to a total share of approximately 6.8 % of global primary energy consumption. Between 2005 and 2015, installed capacity grew by 39%, which corresponds to an annual growth of 4%.[2]  The International Energy Agency, which is known for its conservative forecasts in the field of renewable energies, expects the hydropower sector to grow by a further 25% to over 5,000 TWh by 2025 and to over 10,000 TWh by 2050. [3] Driving forces At the beginning of the twenty first century, the expansion of hydropower was largely favored by the Clean Development Mechanism. The "Mechanism for Sustainable Development" allowed international donor countries to participate in global climate protection and at the same time export energy technologies or finance "best practice" projects in an international context.[4]  The mechanism agreed upon supports companies in industrial nations in offsetting the impacts of climate change by expanding renewable energy projects in the global south. The emissions avoided by these measures can then be traded through volume-related pricing mechanisms – known as offsetting. By this, companies can still label their unavoidable emissions as "climate-neutral" and enable cross-financing of the implementation of various "climate protection projects" at a global level.[5]  In Peru, as well as within Africa, overpriced large-scale hydropower projects are being developed. These intensive intrusions in ecosystems, as for example the ongoing projects in the Congo Basin, are not aimed at supporting the African population -which is energy undersupplied- by means of cheap electricity with its added value; but is rather aimed at providing internationally operating mining and quarrying companies with a permanent and stable energy supply. This is not only a matter of accelerating the creation of value in the country, but it is also a driver for increasing global income and resource inequality. Most of the Congolese neither benefit from the profit generated by these projects, either through tax profits nor through state-sponsored recovery plans that would restore the environment due to the extraction or use of their natural resources. The Congolese Grand-Inga dam project is expected to produce twice as much electricity as the Chinese Three Gorges Dam when completed. In Africa, more than 600 million people still have no access to the electric grid and additionally a large part of the power lines are in private hands. This industry-friendly expansion is being promoted mainly through financing mechanisms linked to international cooperation and development aid.[6]  The conflict The use of hydropower leads to various types and forms of use and resource conflicts regarding resource use at a global level. Geopolitically conflicts take place at upper transnational and underlying levels,[7] with arid regions being under additional pressure due to the construction of large-scale hydropower plants.  One example of this is the "Renaissance" dam in the Blue Nile in Ethiopia, scheduled for construction. Due to the evaporation and the retention of river sediments, this construction will impact Egyptian agriculture, which is completely dependent on the Nile and whose vulnerability will increase in times of strong urbanization and climate change. With the construction of this dam, Ethiopia is trying to strengthen its position within East Africa. Power generation, agriculture-friendly irrigation management and flood protection were the decisive arguments that countries within the Nile catchment area joined forces around, in an alliance called the "Nile Basin Initiative" (NIB). Still to join is: Egypt.[8]  The conflict between Tajikistan and Uzbekistan, surrounding the construction of the Rogun Dam, is similarly critical. In this conflict, cotton production, energy independence and careless construction planning play a role in threatening political gestures and diplomatic deadlocks.[9] Besides transnational political conflicts, negative effects on social and ecological conditions at a local context, which might arise from the construction of hydropower plants, are particularly relevant. Classic conflicts of use between agriculture (water storage for dry seasons) and hydropower operators (water retention for winter time due to increased energy demand) play the main role in regions with established agricultural systems, whereas, on the other hand, in large infrastructure projects, in off-grid or structurally weak regions, a multitude of lines of conflict between different actors, take place. From a socio-economic point of view, long-term participation in value creation is often not designed to benefit local communities. The right to water and local co-determination over the use of water resources can be undermined by neoliberal water pricing or legislation. In many places, an integrated assessment of environmental risks according to international standards which takes local actors and key stakeholders into account is not yet an established or transparent procedure. The conscious exclusion of local actors and ecological criteria in decision-making processes during the planning phase of these macro projects can lead to local protests, social unrest and resistance movements.[10] Ecologically speaking, hydropower can be described as a climate-friendly energy source, but when considering the negative impact on ecosystems, biodiversity and climate in local contexts, this assumption needs to be revised. In addition to the release of methane, the loss of carbon storage through flooding of forest areas, (large-scale) hydropower projects can potentially eliminate endemic species and unique ecosystems or put them under pressure through negative environmental effects. A further side effect is the intensive expansion of infrastructure in structurally weak regions. The construction of the Tucurui Dam in Brazil resulted in increased deforestation rates in an area of 1000 km2 around new hydropower plants, as the expansion of the road network enabled the economic management of untouched forest areas.[11]  The Models Many of these local impacts on existing social-ecological systems can be found in the Planetary Boundaries system described by Rockström et al. This approach describes the limits of the resilience of existing natural systems which are subject to anthropogenic overexploitation, including man’s strong influence on natural water cycles.[12]  If one considers large-scale hydropower projects in the sense of the Anthropocene after Crutzen's ideas of "Man as a geological force", the effects and irreversibility of the dams and interventions in natural water circulation and hydrogeological systems built worldwide are so vast -due to straightening and overexploitation- that the supposed natural "original state" of these resources is most likely irretrievably lost in many places.[13] But how to bridge the gap between local events with global models and scenarios? If one uses a social-ecological system (SES)[14] to model the relationship between society and nature in the context of hydropower, it quickly becomes evident that both nature (climate protection vs. biodiversity) and society (local community vs. hydropower operators/power consumers) cannot be represented in a bipolar SES. Rather, ecological and social systems oppose each other. When getting a full picture of this conflict, a multi-polar SES, from local to global, results a clearly paradox. Ecological and socio-economic added value (market value) at the global level can therefore carry with them a loss of social and ecological systems in the local context (loss of livelihood and quality of life). Adding an economic dimension to the multipolar social-ecological point of view, it quickly becomes evident that the driver for this ambivalence is a market-driven development of energy markets and the profit-orientation of energy consumers. An ethical and regulatory dimension is not to be found within these considerations[15].  Both Karl Marx (1867)[16] and Christophe Bonneuil (2015)[17] do not see man as the primary driver for this strong anthropogenic transformation of natural space. They speak of an "unequal (ecological) exchange" starting with industrialized countries, through the permanent exploitation of nature by a "capitalist elite". For it is clear, and therefore the social-ecological perspective is so relevant for the interpretation of anthropogenic dominance and its consequences on the earth system, that in addition to the irreversible loss of natural environment, it is the man himself who suffers under his own dominance - in times of the "Capitalocene".[18] The artwork In her video installation (contribution to the exhibition "There Will Come Soft Rains?", Basis, Frankfurt am Main 2018), Carolina Caycedo, the artist behind the installation, deals with this distortion of the original socio-hydrological relationship between natural electricity and profit-oriented use of resources using the example of large-scale hydropower plants in South America. She allows the Great River to be tamed, twists it, turns it in all directions in the film, tames it, directs its power. For some, this removal of sincerity symbolizes harmonization and increases in attractiveness; for others it seems like a distortion, like the presentation of a false force of nature, "only" a force of nature that can no longer claim to be natural. - "This Is Not Water".[19] When looking at "This Is Not Water", it seems that both the choice of stylistic means and the staging of the object of reflection "the epoch of artificiality, in which naturalness is no longer a reference point", are brought into focus. But are we really "after nature", in the Anthropocene? Or is our dominance within the Earth system not rather a part of nature, which it corrects in the course of its development by its resilient strength and resumes pursuant to memory? "Nature after Nature"? [20] Even if we look at nature in its supposedly pure form, we evaluate it from an anthropogenic perspective. Let us therefore return to Marx (Paris manuscript 1844): "The nature which develops in human history – the genesis of human society – is man’s real nature; hence nature as it develops through industry, even though in an estranged form, is true anthropological nature. "[21]/[22]. Later, through science and philosophy, we were able to counter mythical understanding with a secular view of weather or natural phenomena. Today we have to go one step further and accept that it is not only physical heteronomy that influences our atmosphere, our earth system, but that we are the ones who have empowered ourselves in the "language of the gods"[23] and must now learn how to speak it.[24] The anthropogenic over shaping of natural space can be expressed in many models. It is important that the human being is viewed in a differentiated way in its impact on natural space and that its impact within the earth system (positive and negative impact) is dully recognized and understood. The monetization of ecological loss is still not on a par with the macroeconomic indicators of our time in regards to its significance for our actions. Let us therefore conclude with an assessment by the German Advisory Council on Global Change (WBGU) in 2011, 4 years before the Paris Climate Agreement, which, despite all theoretical euphoria, leads us back to the possibilities for action in real politics: "Hydropower is being expanded only slightly as its sustainable potential is limited." And let's plan to keep an eye on this expansion, to make it holistic and to expand it by a multitude of possibilities.[25] Text: Janosch Birkert Translation: Marcela Scarpellini Editing: Dr. Felix Silomon-Pflug, Marcela Scarpellini   Picture: Carolina Caycedo, “Esto No Es Agua / This Is Not Water”, 2015 Film still 1 channel video HD, Sound and Color, 5’20’’, Sound: Daniel Pineda [1] International Hydropower Association 2017 „Hydropower Status Report 2017“ S. 5, 42-48 [2] World Energy Council 2016 „World Energy Resources 2016“ S. 16 [3] International Energy Agency 2017 „Tracking Clean Energy Process 2017“ Energy Technology Perspectives 2017 Excerpt Informing Energy Sector Transformation S. 26 [4] Deutscher Bundestag 2016 „Clean Development Mechanism als Instrument der Entwicklungspolitik“ WF VIII – 025/2006 und WF II – 016/2006 [5] Today, the Clean Development Mechanism is slowly being replaced by the Paris climate agreement, since it is now about reducing rather than compensating. In addition, new standards that take into account the ecological and social added value of the projects have become market stabilizers. Especially in the area of "unavoidable emissions", this compensation mechanism is quite in line with the Paris climate agreement. [6] Aurélien Bernier 2018 „Strom für Afrika“ Le Monde diplomatique deutsche Ausgabe!5480793 [7]  Conflicts between the countries in the upper part of the river basin and the countries in the lower part, i.e. downstream (up- and downstream riparians) [8] Habib Ayeb 2013 "Whose river is this?" Le Monde diplomatique, German edition!461436 [9] Régis Genté 2017 "The Great Wall of Tajikistan" Le Monde diplomatique German Edition!5379125 [10] Marcela Palomino-Schalscha et al. 2016 „Contested Water, contested development: unpacking the hydro-social cycle of the Nuble River, Chile; S.889, 897; Third World Quarterly Vol. 37, No. 5, S. 883-901; [11] Luke Gibson et al. 2017 Trends in Ecology & Evolution, December 2017, Vol. 32, No. 12; Elsevier Ltd. [12] Rockström et al. 2009 „Planetary Boundaries: Exploring the Safe Operating Space for Humanity“, Ecology and Society 14(2): 32 http://www. [13] Skalak et al. 2013 „Large dams and alluvial rivers in the Anthropocene: The impacts of the Garrison and Oahe Dams on the Upper Missouri River“ Anthropocene 2 (2013) 51-64 [14] Hummel et al. 2011 „Social-Ecological Analysis of Climate Induced Changes in Biodiversity – Outline of a Research Concept.“ BiKF Knowledge Flow Paper Nr. 11, Februar 2011 [15] Giovanni Frigo 2017 „Energy ethics, homogenization, and hegemony: A reflection on the traditional energy paradigm“ Energy Research & Social Science 30 (2017) 7–17, [16] John Bellamy 2018 „Der Öko-Marx“ Le Monde diplomatique deutsche Ausgabe, Juni 2018 [17] Christophe Bonneuil 2015 "The Earth in the Capitalocene" Le Monde diplomatique German edition, November 2015 [18] See footnote 16 [19] Carolina Caycedo 2015 „ESTO NO ES AGUA / THIS IS NOT WATER“,Film Installation [20] Hartmut Böhme 2017 "Prospects of Nature", Matthes & Seitz Berlin, pp. 12-16 [21] Karl Marx 1844 “Ökonomisch-philosophische Manuskripte” Siehe dazu [22] German version: “(Die in der menschlichen Geschichte – dem Entstehungsakt der menschlichen Gesellschaft – werdende Natur ist die wirkliche Natur des Menschen, darum die Natur, wie sie durch die Industrie, wenn auch in entfremdeter Gestalt wird, die wahre anthropologische Natur ist.” [23] According to Lucretius See footnote 20 [24] Hartmut Böhme 2017 "Prospects of Nature", Matthes & Seitz Berlin, pp. 12-16, 70 [25] WBGU 2011 "World in Transition Social Contract for a Great Transformation" German Advisory Council on Global Change
Soft Rains – 

Filippa Pettersson & Tamara Antonijevic interview on 7AM

The performance is set in an office environment under water, where the audience can witness three creatures doing their routines. I wouldn’t call it a futuristic scenario, it’s rather an impression of these imagined beings that look and act a lot like humans. However, as the performance unfolds, it becomes clear that there is something off about them and that they are maybe not human at all.
Soft Rains – 

Speculative Biology
Dr. Pinar Yoldas

In her lecture artist and scientist Pinar Yoldas discusses her concept of "Speculative Biology".
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Superflex (DNK)
„Flooded McDonald's“

Superflex is a collective comprised of the Danish artists Jacob Fenger (b. 1968), Rasmus Nielsen (b. 1969), and Bjørnstjerne Reuter Christiansen (b. 1969), who have been working together since 1993. They consider their works as a way to question systems of power, capitalism, and the potential of artistic practice in different social fields. They have received international attention with their provocative political initiatives such as their 2007 campaign to include Palestine in the “Eurovision Song Contest”, and their cooperation with Brazilian farmers to create an energy drink called “Guaraná Power”. More recently, in 2017, they exhibited fully functional medical equipment, which was subsequently sent to a hospital in the western Syrian city of Salamiyah. In exchange for purchasing this work, the potential collector receives a photograph of this post-readymade in its original exhibition setting.
Soft Rains – 


In her practice between art and activism, Carolina Caycedo developed a corpus of works, that questioned the production and distribution of hydroelectricity, and the colonization of nature. In 2018 her work Esto no es agua, part of her research on the social and environmental effects of dams, was part of the exhibition "There Will Come Soft Rains" at basis e.V. in Frankfurt am Main.
Soft Rains – 

Andreas Greiner (DE) & Tyler Friedman (US)
„Study 01“, „The Molecular Ordering Of Computational Plants“

The collaboration between Andreas Greiner and Tyler Friedman started in 2014 and can be seen as an ongoing project of sharing thoughts and combining skills and knowledge. With an interest in speculative biology, their works are a trajectory in progress, charting a thought experiment that proposes organic-cellular structures as hyper-complex computational devices, contributing to an imaginary strain of futurology in which intergalatic- space is quantum and life is electric. To this end, Andreas’ visual elements combine with Tylers’ sound and science fiction offers reflection on living sculpture, rendering a multi-sensory experience in the exhibition space.
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Apr 11, 2018

Climate change and migration - Scientific Talk with Diana Hummel and Lukas Drees

This lecture will be in German Language. Please check the German Website for more information.
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ISOE Design Labs

Jan 9, 2018

Workshops for a more sustainable way of living in the city

The Workshops will take place in German language. Please check the German website for more information.
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Die multiple Krise
Ulrich Brand

(English version to be published soon)
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Carolina Caycedo (EN)
„Esto no es agua / This Is Not Water“, „Foresight Filaments“

Carolina Caycedo’s artistic practice unites activism and art. She translates her research, interviews, and documentation into objects, drawings, and videos meant to be shown in exhibition contexts. Territorial resistance, the fight for the rights of indigenous populations and their environment, is a central aspect of her work. Through visual forms, sounds, and lectures she spotlights unspoken realities and ecocides around the world and opens up space for potential discussions and paradigm shifts. Water elements have become particularly central in her work; as Caycedo has stated, “In Indigenous cosmogonies of the Americas, all bodies of water are connected. Rivers are the veins of the planet, their waters associate communities and ecosystems.” In a subtle way, she brings the public’s attention to some of the biggest environmental catastrophes of our time— affecting rivers, indigenous populations, and ecosystems in South America, from Colombia to Brazil—and thus mediates the voices of the local population directly affected by the unrestrained exploitation of natural resources through methods like mining and hydropower. Although the latter is often considered a source of green energy, some countries have become aware of the ecological risks and damage caused by dams and have begun to dismantle them. Nevertheless, while Western countries have started this process on their own land, the same companies have started to develop massive plants in the Global South: no less than 250 new constructions have been planned for South America, which will affect the entire biotope.
Soft Rains – 

Hicham Berrada (MAR)

Hicham Berrada’s artistic approach centers on the experimental use of chemical substances as materials. In his installations, performances and film-based works he relies on these chemicals to provoke reactions, which often evoke associations of microscopic, ephemeral forms of natural organisms and landscapes. The artist not only places the focus on the poetry of spontaneously occurring processes with his works, but also critically explores the late-modernist view of a nature that can be dominated by science and technology.

5 Questions with Mario Pfeifer

1. What does the idea of a non-human world mean to you? Do you see it as an inspiring artistic proposition or as a real possibility for the near future? I would say it's a rather scary proposition. Therefore it can be an inspiring idea for an artist. In my case, I find it more inspiring to think about how to avoid such a scenario and wonder what would the conditions for a non-human world be: war, disaster—or an outlook on a better habitat than we currently live in. How realistic is it? Well, it's more realistic with world leaders who use language like, “We are going to bomb the shit out of you,” or, “Climate change is a hoax,” than with more progressive thinkers who want to make sure we live a sustainable life on earth. Another aspect is that innovators preparing for civilian space travel might conquer another habitat and make it unattractive to stay on Earth for a certain group of civilians, namely the rich, the smart, and the biologically most advanced human beings. It's inspiring to think critically about these conditions, but I am more in favour of making life on Earth more equal and sustainable.
Soft Rains – 

Julian Charrière (CH)
„Iroojrilik“, „Pacific Fiction—Study for a Monument“

Stones, or natural elements such as lithium and salt, say a lot about human behavior and history. Julian Charrière travels around the world in order to play with these elements in a deeply poetic way. He has climbed an iceberg off the coast of Iceland, confronted radioactive regions in Kazakhstan, and crossed a desert in the south of Bolivia. Inspired by science-fiction visions such as “The Terminal Beach” by J. G. Ballard, he has developed a corpus of work that explores broadly the consequences of atomic power and radioactivity.
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Interview with Jeronimo Voss

1. The exhibition is based on the narrative of a non-human world. This theme defines the context for the artists and visitors as well as for the additional education program. For your project you decided to stage holograms of bookshelves photographed in living rooms. What is your main interest in this topic? I got the idea when I read about the ancient mythology of Cassandra. Cassandra is the seer that herself isn’t seen. According to Greek mythology her prophecies are ignored by her fellow Trojan citizens because she is cursed by a god whom she refuses to have sex with. As a priest, as a seer, she states that this society will not sustain itself much longer. So she knows about the social crisis that surrounds her – a knowledge that is probably not supernatural given that Troy is besieged by Greek enemy soldiers. As a result, she is not only ignored but even considered a traitor. I think this story speaks a lot about those who still deal with the truth of the current and future social reality and it’s unfolding crisis, how powerless it can feel to analyse and speak about this crisis without being able to directly having an impact on it – just think of the hatred people can face in today’s “post-factual” media world. Allan Sekula once stated: “the old myth that photographs tell the truth has been replaced by the new myth that they lie.” So I decided to stage photographs of bookshelves in a Cassandrian setting. In my view Cassandra’s caves today are living rooms filled with knowledge about the ongoing crisis of the last 3000 years of class society. If humanity will really end in self-extinction one probably would find an answer for how and why this happened in these caves.
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Marcela Armas (ME)

Decolonization is not always only a matter of identity and roots, but also may involve the liberation of environment and nature. It is no secret that even today, western globalist companies are impacting the cultures, societies, and environments of Latin American countries. This imbrication of consequences are essential aspects of Marcela Armas’s artistic research. Through installations, handmade technological apparatuses, and films she investigates the mechanisms and processes of de- and re-territorialization.
Soft Rains – 

Jeronimo Voss (DE)
"Cassandra's Cave"

In his artistic practice Jeronimo Voss mostly creates installation works that can be interpreted as multilayered designs for historic and parallel worlds. By means of montages of slides and various projection methods he conjures up narrative spatial situations which are not only defined by the intermingling of the past, present, and future, but which also trace the overlapping of pictorial and social reality. Recurring focal points of his artistic exploration can be found in the cosmopolitical interpretations of astronomical hypotheses and the critical examination of neo-liberal promises of progress.
Soft Rains – 
Soft Rains – 

Uriel Orlow (CH)
„Remnants of The Future“

Uriel Orlow’s artistic practice is defined by a research- and process-oriented approach and the recurring use of the media film, photography, drawing, and sound. Using these he designs multimedia installations in which he relates different image regimes and narrative modes. His interest centers on the exploration of concealed micro-histories, whose specific locations and spatial inscriptions he reveals and investigates in his works.
Soft Rains – 

Galina Leonova (RUS)

In her artistic work Galina Leonova explores the transformation of social and moral value systems and the epistemological grasp of our reality against the backdrop of current technological advances. She particularly addresses this thematic field in the context of installations and filmic works in which she reflects upon the specific points of intersection between our human lifeworld and the new media in an experimental manner. At the same time, her artistic approach involves a recurrent exploration of various forms of future scenarios, which serve her as a fictional point of reflection for analyzing current developments.

I have 5 questions Mr. Orlow

1. What does the idea of a non-human world mean to you? Do you see it as an inspiring artistic proposition or as a real possibility for the near future? The world is non-human, we are the last to arrive to the party - and we are definitely spoiling the fun.
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Will There Come Soft Rains?
with Carolina Caycedo

1. What does the idea of a non-human world mean to you? Do you see it as an inspiring artistic proposition or as a real possibility for the near future? It's a world where we understand that processes of representation and of production of knowledge are not exclusively human. A non/human world is a pluriverse where many worlds are possible, instead of a Universe where everything is determined by the white male colonizer human experience.  In many places of Latin America the post human evidences itself today, the fact that the earth is a subject with rights as determined in the constitutions or Bolivia or Ecuador, or that in Colombia the Atrato River has also gained legal rights, are more institutional manifestations. But if you look at the everyday of indigenous and rural communities in the Andean regions, and the Amazon Basin, amongst others, you will find post human worlds, where water, rocks, stones, emeralds, fish, corn and other non/human spirits are considered social active agents in the everyday socio-politics of the community. The Colombian sociologist Arturo Escobar calls this 'Pensamiento de la Tierra' (Thought of the Earth), it manifests through a vast array of popular movements across the continent that are based on their unique and constitutive relation to localized nature and to their territories. For these communities, the rivers, the mountains, even the forest are like family, and they take on active roles in the collective efforts of territorial resistance against extractivist industries.  For example, a river can overflow to halt the construction of a dam, or the ground can tremble to complicate a mine operation.  So actually I think that there are non-human worlds happening today, they have been happening for millennia, but colonial and extractivist structures have made a great deal to erase them.

Pinar Yoldas

1. What does the idea of a non-human world mean to you? Do you see it as an inspiring artistic proposition or as a real possibility for the near future? I do not get a kick out of the possibility of a non-human world. Since humans emerged as a species who dominated the planet, a world without humans would mean that our models for civilization failed us. I do not find inspiration in the mass failure of human cultures, to live harmoniously with other organisms inhabiting Earth. My inspiration comes from the intrinsic and undeniable beauty of the natural world in its all complexity to the point that we understand it with our science or by other means we have been endowed with. Yet it is very humbling to accept that human beings may or may not be around let’s say in the next 500 years. It is the same kind of humbling thought that one could get when one understands their own death.
Soft Rains – 

Pinar Yoldas (TR)
„Ecosystem of Excess“

In her roles as artist, designer and scientist Pinar Yoldas takes an interdisciplinary approach to the field of biological phenomena, as well as to the use of digital technologies. She creates extensive installations, kinetic objects and film-based works focused on contemporary issues surrounding post-humanism, eco-nihilism and a feminist-oriented techno-science.