Curated by Lesley Lokko, the 18th International Architecture Exhibition, titled The Laboratory of the Future, will be open to the public from Saturday May 20 to Sunday November 26, 2023 at the Giardini and the Arsenale, and at Forte Marghera. Proud to be showing Devenir Universidad in this extraordinary context.

Against the rapid deterioration in the conditions of all life on Earth, Speculative Ecologies meditates on the probabilities of interconnection, repair and transformation. Showing Acoustic Ocean and Forest Mind.

Against the rapid deterioration in the conditions of all life on Earth, Speculative Ecologies meditates on the probabilities of interconnection, repair and transformation. Showing Acoustic Ocean and Forest Mind.

The fourth in a series of five themed exhibitions at Museum Tinguely dealing in experimental ways with the human senses. Focusing attention on hearing, which plays an important role in multisensory experiences of art, the exhibition offers various immersive and interactive encounters with familiar and less familiar soundscapes.

Money, Ruins, and the Sea is an invitation to critical conversations about how money and finance impacts our seas, ocean environments and marine life, and an exploration of potential alternative economies and futures of the sea, as presented by the artists and scholars in the exhibition.

Join Onsite Gallery in exploring human-natural relationships and experience new ways of understanding the natural world through technology-based works of art and design.With Ursula Biemann (Forest Mind) Rasa Smite + Ratios Suits, curated by Jane Tingley with Faadhi Fauzi.

The opening in Bogota was also the book launch for Forest Mind – On the Interconnection of All Life, an artist book unfolding my field experience and research done in Colombia with the Inga, my DNA experiment here with ETH Zurich and art related reflections. Designed by Studio Krispin Heé, edited by Etienne Turpin. It’s part of the commission by María Belén Saez de Ibarra at UNAL, Bogota.

Inga Taita Luciano honoured us with a harmonising ceremony at the opening of Forest Mind. A lot of Inga travelled from their territory to attend the opening.

Forest Mind exhibits the artistic productions resulting from four years of collaboration with the Inga people of Colombia. This includes the video installation Forest Mind which is an artistic video essay of Biemann’s personal research; Vocal Cognitive Territory – a video installation based on interviews with many Inga social leaders, healers, elders and the voices of other forest beings; Devenir Universidad which is the overarching concept and multimedia online platform that accompanies the Inga project of co-creating an Indigenous university in their territory; and the book Forest Mind unfolding the artist’s experience, research and reflections.

At this 17th edition of the Istanbul Biennial curated by Ute Meta Bauer, Amar Kanwar, and David Teh we are showing the new piece Vocal Cognitive Territory, co-produced with Waira Jacanamijoy and Flora Macas of the Inga community in Colombia. The 2-channel video is based on interviews with Inga elders, social leaders and traditional medics on territorial memory and thoughts about education and the future Indigenous university in the making. Waira and Flora enjoy the installation.

On September 1, 2022, Who Speaks for the Oceans? opens at Mishkin Gallery, Baruch College, City University of New York. The exhibition proposes new ways to shift our relationships to whales and other nonhuman animals. Through over fifteen interdisciplinary artworks Who Speaks for the Oceans? analyzes epistemological and historical knowledge built around what we think we know about life in the ocean through the charismatic “whale song.” As we approach a crucial moment concerning the condition of our planet, listening to whale vocalizations and other marine creatures can bring us closer to understanding their needs and encouraging action towards healthier stewardship of the oceans.

Parallel to Breathing Water, Drinking Air, the Philara Collection presents the installation Acoustic Ocean (2018) by Swiss artist Ursula Biemann. The installation takes a new look at themes of water in addition to and following the collection presentation, thus asking, among other things: What can we add to narratives about water in terms of processual change and our bodily perception of it? How can we make the forms of communication of our planetary ecosystem audible?

Organized by Prof. Dr. Mayara Ribeiro Guimarães, the conference discusses relations between humans and non-humans, by reviewing histories of contact between different peoples and crossing over the scientific, political and poetic viewpoints that have the forest and its inhabitants as the center of critical debate. The event will bring together practitioners and scholars working in the literary and cultural studies and the arts, anthropology, ethnography, philosophy, as well as the biological and natural sciences to discuss the urgent transformation of the social and political relations of life and Earth.

In line with the progressive and increasingly significant relationship between environmental studies and all fields of knowledge and culture, Prada Frames brings together the valuable contribution of scholars and professionals, such as scientists, architects, designers, artists, activists, anthropologists, and law experts.

The Zurich Art Prize, endowed with 50,000 Swiss francs, will be awarded to Ursula Biemann in 2022. Biemann has become known far beyond Switzerland for her powerful and original artistic-essayistic research. Primarily in the medium of video installation, she explores essential contemporary issues from gender, globalization and mobility to resources, ecology and climate. She is one of Zurich’s most internationally distinguished artists. In addition, as a theorist and activist, she repeatedly builds bridges between art and social engagement.

On Monday, May 16th we’ll launch the online exhibition at Sala 10 of the fabulous MUAC in Mexico. This is a little teaser for the more comprehensive exhibition we are planning with Cuauthémoc in 2024 with a good number of spatial installations. Mexico is where all started for me, so extra grateful for this amazing opportunity.

«Kann Kunst die Welt retten» bespricht eine schöne Auswahl von internationalen künstlerischen Praktiken, die sich mit Wald und sonstigen Umweltthemen befassen. Das Kapitel «Die Feldforscherin» widmet sich meiner Videoarbeit. Beautiful survey of international forest-related art practices with a chapter on Field Researcher on my video works.

The opening exhibition of the new Center for Art and Ecology RADIUS focuses on water as a fundamental and life-sustaining element on Earth. Ecological deterioration is fueled by political corruption, corporate misappropriation and unjust water management. These not only negatively affect human beings, but countless other life forms that inhabit aquatic ecosystems and require water to subsist.

The underground world is enigmatic, exciting, alluring, dangerous and mysterious. There is much more beneath the earth’s surface besides earth, minerals and roots. There is also the glowing magma of volcanoes, underground aquifers, unexplored caves, rabbit holes, catacombs, and metro tunnels. The Subterranean group exhibition uses four themes to explore how artists through the centuries have depicted the worlds beneath our feet. I’m showing Black Sea Files.

More-than-human is a part of the 2022 Cement Fondu BETTER NATURE program. The creation of the universe implodes across a computer screen, the swell of a pregnant belly ripples with ocean tides, strands of knowledge converge in the Amazonian forest and yodeling can be heard in the distance.

With its theme Synthetic Ecology, BATB intends to evoke questions about ecology in this technology-driven social context, especially in response to the most urgent ecological issues at a critical moment for our planet. Forest Mind will be shown in this year’s edition. Organized by the Central Academy of Fine Arts (CAFA), BATB is an international platform for a broad range of practitioners from the fields of art, science and technology.

The World Around 2022 Summit invites visitors to meet contemporary architecture and design’s now, near and next, with invited speakers from all over the world speaking to their recent and under-construction projects in the field of spatial and environmental practice, examining cutting edge ideas, critical thinking and visionary new work, technology and research.

The 15^th Cuenca Biennial presents for the first time an exhibition project that seeks a change in the model, committing to a more sustainable edition through the curatorial thesis “Biennial of the Biocene: Change the Green to Blue” by Spanish curator Blanca De La Torre. The curatorship unfolds around three main axes: Ancestral Knowledge, Ecofeminisms and Futurible Scenarios.
Forest Mind was awarded Honorary Mention by an international Jury.

In an interview with STIR, Biemann dives into three of her significant works, Devenir Universidad, Forest Mind, and Acoustic Ocean, and the making of an ingenious university. By Rahul Kumar.

Premiere of Forest Mind in the Earth Beats exhibition. ‘Earth Beats’ is an artists’ plea to preserve the Earth and its natural resources, born out of the urgency of the present situation. The exhibition explores artists’ engagement with the ‘Blue Planet’ and its vulnerability. It considers both the history of ideas and future scenarios for the sustainable use of natural resources. The exhibition continues to February 6, 2022.

Design Emergency live Instagram broadcasting the conversation with MOMA curator Paola Antonelli and Ursula Biemann.

Please join us for a very special launch event with artist Ursula Biemann and curator María Belén Sáez de Ibarra in conversation with Rosi Braidotti, Marisol de la Cadena, Kodwo Eschun, and Hélène Guenin, as well as video replies from Emmanuel Alloa, Eduardo Kohn, Elizabeth Povinelli and Paulo Tavares.

For more than twenty years, through her video essays, Swiss artist and writer Ursula Biemann has been addressing contemporary ecological challenges – mass extractivism, unequal access to natural resources… – as well as migration flows, or the consequences of human pressure on the environment and on life as a whole.

For the first time in France, an exhibition brings together several video works by the Swiss artist Ursula Biemann with a selection focused on the major ecological issues of our time.

Curated by Mali Wu and Francesco Manacorda, the Taipei Biennial 2018 officially announces its title: Post-Nature—A Museum as an Ecosystem. Taking this title as their starting point, the curators will approach the ever-changing nature of an ecosystem and how this is reflected in artistic and institutional practice. This exhibition will investigate how systemic theory can be reflected in artistic and institutional practice, underlining the reciprocal dependency which every system relies upon to survive.