Landscapes of Loss Landscapes of Loss

Home , Janet Laurence, Stefano Cagol, Stefan Rinck

Exhibition at the Ministry for the Environment, Nature Conservation, Building and Nuclear Safety on the occasion of the World Climate Conference COP 23

2 – 5 November 2017

Andreas Blank, Stefano Cagol, Miru Kim, Nezaket Ekici & Shahar Marcus, Janet Laurence, Reifenberg, Stefan Rinck, Erwin Wurm, Shingo Yoshida

Curated by Constanze Kleiner & Rachel Rits-Volloch

The video works from this exhibition are also be shown in Bonn at COP23, 6 – 17 November 2017 Contents

Curatorial Statement — English 8 — Deutsch 12

Artists and works — Andreas Blank 20 — Stefano Cagol 22 — Nezaket Ekici & Shahar Marcus 24 — Miru Kim 28 — Janet Laurence 30 — Reifenberg 38 — Stefan Rinck 40 — Erwin Wurm 44 — Shingo Yoshida 50

Endmatter — List of works 56 — External links 57 — Colophon 58

Please click on any underlined text on this page and throughout the document to be directed to the corresponding links Curatorial Statement The United Nations Framework With storms, droughts and fires Landscapes of Loss, the exhibition conservation initiatives. Laurence’s Convention on Climate Change raging around the world; with for COP23 at Berlin’s Ministry of practice is a direct response (UNFCC), adopted 25 years ago, growing deserts meeting rising seas; Environment, asks us to stop and take to contemporary ecological now in 2017 holds its 23rd World with wars over natural resources the time to think in the long-term. catastrophes, positioning art Climate Conference, COP23, in engendering migrations; with mass This exhibition of contemporary art within the essential dialogue of Bonn, Germany. With 197 nations displacements of people and mass brings together ten international environmental politics to create and participating in this global initiative extinctions of species, we are now artists with strong links to Berlin, communicate an understanding with up to 25,000 delegates, the already bearing witness to the who, each in their own way, address of the impact that humans have aim of the annual UN Climate sickness that ails our planet. mankind’s role in relation to the upon the threatened natural Conferences is to find ways Yet while Hollywood capitalizes on environment. Through video, world, in order to restore our vital to stabilize greenhouse gas such disasters as entertainment, photography, and sculpture, this relationships with it. Works from two concentrations in the atmosphere fueling our fear only to provide exhibition is designed as an antidote series are shown here: Reflecting on at a level that will prevent scenarios of instantaneous salvation, to the hyper-immediacy of the lives the loneliness of the last of a species, dangerous consequences of human in reality there are no superheroes we live. Landscapes of Loss invites us The Other Side of Nature / Panda interference with the climate system. to miraculously save the day. We to disengage from our phones and (2014), and Dingo (2013), shot in nature Yet while the world’s experts meet have to save our own planet, and it iPads, to switch off the data stream, reserves in China and Australia, to agree on the necessary steps is going to take time. If governments to stop tweeting and messaging, to chronicle in intimate proximity for nations to take to mitigate the continue to function on the basis opt out of the constant barrage of the lives of animals that could human impact on the environment of short-term promises, there is the now and immerse ourselves in soon be the last of their kind. and prevent further catastrophic little hope of healing our damaged our planet — from the Arctic tundra of Janet Laurence’s video Deep climate change, it is not only at the planet. To effect the kind of change Siberia, to the deserts of the Middle Breathing – Resuscitation for the Reef governmental level that practices that the COP conferences hope to East, and the jungles and seas of (2015), and accompanying photo must change. The damage already achieve, we need to radically reform the Antipodes — while we still can. As series Corral Collapse Homeopathy done to our environment will be this age of immediacy; to change our the world’s climate change experts (2015) was created for COP21 in healed through a transformation thinking from what we can get in convene in Bonn in mid-November Paris. Shot in Australia’s Great of the attitudes, expectations, the here and now, to what we can for COP23, Landscapes of Loss Barrier Reef — a World Heritage site and actions of every one of us. do now in order to preserve creates a space of contemplation which is the planet’s largest living, This is a slow process. Decisions the planet for the future. and time for reflection upon the and rapidly dying, structure — this implemented now will take years role we all play in ensuring that series of works envisions a hospital to show results. Yet, in this age of the decisions taken this year will in for the Reef’s threatened corals instant gratification — when all of the long-term halt the disastrous and other marine species, making us want things and we want then deterioration of our planet’s climate. visible the otherwise invisible now; when the flow of information is devastation beneath the surface instantaneous and the satisfaction Of the ten artists in this exhibition, of the sea, and offering hope for the of most of our urges seems only a renowned Australian artist Janet healing of the marine world from the click away; and when politicians are Laurence is most known for consequences of global warming kept in office on the basis of promises her work with the environment, and human impact. If we can care for only quickly fulfilled — we need to re- often undertaken together with marine life in the same way that we learn how to think in the long-term. scientists engaged in international care for our own species, there is

8 — Landscapes of Loss Janet Laurence • Corral Collapse Homeopathy #7 [Detail] • Page 30 • Cat 9 Landscapes of Loss — 9 a chance of deflecting environ- his art to sculpting the detritus of our Shingo Yoshida’s journey in his film Likewise, Korean / American artist mental catastrophe. Laurence’s work planet, recreating in timeless stone The End of Day and Beginning of the Miru Kim engages with the desert is an emergency response: a hospital the all too temporary objects of the World (2015) took him to Siberia, to the in her Camel’s Way series (2012). The for the Reef in this time of ecological day - to - day, Stefan Rinck builds an point where the Arctic Circle crosses female nude, an archetype since crisis, intended to aid survival and alternative mythology, pitting man- the 180th Meridian, the basis for the the dawn of western art history, is effect transformation. made time against the timelessness International Date Line separating here transposed to the sands and of imagination, populating his world two consecutive calendar days. mountains in a 3-week journey with eternal creatures of stone able Inspired by local Chukchi folklore through Jordan’s Wadi Rum Desert. to withstand any extinction. and customs, this film is a journey In positioning the fragility of her own into a place where nature rules, and body within the drama of this natural Berlin-based Israeli artist Reifenberg mankind clings to the traditions landscape, Miru Kim succeeds also addresses the detritus of their ancestors in order to in highlighting the fragility of the polluting our environment, working survive. Straddling the border landscape itself. throughout his practice with plastic between two days, it is a place of bags recycled into the medium of strong mythologies and magical Celebrated Austrian artist Erwin his art. In Ölteppich (oilSpill) (2010) landscapes; an environment of Wurm brings us out of the jungles he fashions a lightbox recreating extremes which defies man-made and seas, the Arctic wastes, and the satellite image of an oil spill; borders and mankind’s influence, yet the scorching deserts, back into ironically using the petroleum- is still perilously close to destruction the city. Our urban landscape is an From the ephemeral landscape based material of the ubiquitous from climate change. environment changing as rapidly and its vanishing creatures, we turn plastic bag to depict one of the as our natural one. The way people to the solid permanence of stone. many man-made catastrophes to Turkish / German artist Nezaket Ekici have lived upon this planet for German artists Andreas Blank and devastate our planet. and Israeli artist Shahar Marcus millennia in family groups and Stefan Rinck are sculptors both together address geopolitical and villages is well on its way to being working exclusively with stone. Italian artist Stefano Cagol and environmental forces through the replaced by the megacity, with Each is conscious of his chosen Japanese artist Shingo Yoshida medium of performance in their millions living and working packed medium as a material reflecting each ventured on a long journey video Sandclock (2012). Shot in the into faceless high-rises. Erwin the very substance of time; in its into the Arctic to record mankind’s burning sands of Israel’s Negev Wurm’s photo series of one-minute strata are recorded the ages of impact upon nature at its most Desert, their performance ironically sculptures, Leopoldstadt (2004), the planet. While in Landscape extreme. In the Norwegian Arctic confronts human endurance confronts through absurdity our Metaphor (2014) Andreas Blank Circle, Stefano Cagol’s video with the extremes of nature and place in the urban landscape. The fashions out of quartz a perfect Evoke Provoke (The Border) (2011) culture. In this actual and political solitary figures posing incongruously replica of a plastic bag, Stefan Rinck documents his solitary attempts hotbed, time is running out, and in empty streets could be seen as creates creatures reminiscent of a at communication in the vast Muslim and Jew alike are turned a sign of urban alienation, but the bygone age of totems and effigies emptiness with a succession of into human sand-clocks measuring humor inherent to these scenarios in the series of five sculptures:Die lights and flares. The irony here is not how quickly we are getting nowhere gives us hope that humanity will Streichwürstin (2017), Chiaroscuro lost: while one man cannot make with solutions for political and find a way to fit into our landscape, (2014), Gibbons don’t have good a visible impact upon this frozen environmental stability. however fragile the balance. press (2014), Roo (2013), and Unicorn landscape, the impact of mankind (2009). While Andreas Blank turns as a whole is all too devastating.

10 — Landscapes of Loss Stefan Rinck • Unicorn [Detail] • Page 40 • Cat 17 Landscapes of Loss — 11 Die Weltklimakonferenz in Bonn In unserer Zeit augenblicklicher müssen wir unser eigenes Denken einer allen Arbeiten gemeinsamen wird die größte zwischenstaatliche Bedürfniserfüllung jedoch, wo die ändern: Weg von dem, was wir im künstlerischen Herangehensweise, Konferenz, die es in Deutschland je Befriedigung der meisten unserer „Hier und Jetzt“ haben können, hin zu für die die Drosselung von gegeben hat. Erwartet werden bis Wünsche nur einen Klick entfernt dem, was wir unternehmen sollten, Tempo und die Verlängerung zu 25.000 Teilnehmende aus allen zu sein scheint - während Stürme um unseren Planeten auch für die, von Dauer wesenseigen sind, Ländern der Welt, dazu rund 500 und Feuersbrünste inzwischen die nach uns kommen in seiner versuchen diese Arbeiten der Nichtregierungsorganisationen und auf der ganzen Welt wüten; Dürren lebendigen Schönheit zu erhalten. Hyper-Allgegenwärtigkeit und mehr als 1000 Journalistinnen und sich häufen und Wüsten sich dem permanenten Ereignis- Journalisten. Die Präsidentschaft immer weiter ausdehnen; der Stakkato unseres heutigen der Konferenz hat Fidschi inne, Meeresspiegel immer weiter steigt; Lebens entgegenwirken. In der Deutschland unterstützt als Kriege um natürliche Ressourcen Ausstellung öffnet sich plötzlich technischer Gastgeber. Migrationen verursachen und ein geschützter Raum, in dem immer mehr Arten von Ausrottung sich durch langsam ablaufende, Zwar einigen sich die Fachleute aus bedroht sind! Bereits heute erleben miteinander korrespondierende, aller Welt bei ihren Zusammen- wir verheerende Auswirkungen, überdimensionale Bilder eine künften immer wieder auf Schritte, die aber nur der Beginn sind von Atmosphäre von Beruhigung und die weltweit unternommen werden unvorstellbaren Katastrophen, Langsamkeit entfaltet. Der Weg in müssen, um den zerstörerischen wenn wir nicht alle – und zwar den Ausstellungsraum, den Lichthof Einfluss des Menschen auf die ausnahmslos alle – zu einem des Ministeriums-Gebäudes, ist Umwelt zu verringern und weitere langfristigen Denken zurückfinden! von Skulpturen aus uraltem Stein katastrophale Klimaveränderungen Auch wenn Hollywood solche flankiert. Es entsteht eine Aura, die zu verhindern, jedoch ist die Rettung Desaster als Unterhaltung etwas Heilendes in sich trägt. unserer Umwelt und somit der ausschlachtet und unsere Ängste Lebensgrundlage von uns allen befeuert, um zugleich tröstliche Die Ausstellung lädt uns dazu schon lange nicht mehr nur allein Rettungsszenarien anzubieten, ein, unsere Handys und iPads Regierungssache. gibt es in Wirklichkeit nirgendwo wegzulegen, den Datenstrom diese Superhelden, die uns auf Die Ausstellung „Verschwindende abzuschalten, nicht mehr zu tweeten Der Schaden, der unserer Umwelt wundersame Weise zu Hilfe eilen Landschaften / Landscapes of und zu texten, dem Dauerbeschuss bereits zugefügt worden ist, kann könnten! Unseren Planeten müssen Loss" aus Anlass der COP23 im des „Hier und Jetzt“ zu entsagen nur durch grundsätzlich geänderte wir schon selber retten! Und das wird Bundesumweltministerium und sich unserem Planeten zu Einstellungen, Erwartungen und dauern. Aber wenn Regierungen versammelt zehn internationale widmen - von der arktischen Tundra Haltungen jeder und jedes Einzelnen weiterhin mit kurzfristigen Künstlerinnen und Künstler, deren Sibiriens zu den Wüsten des Mittleren von uns gestoppt oder - vielleicht Versprechungen operieren, besteht Werke - jedes auf eigene und Ostens, den Dschungeln und den sogar noch - geheilt werden. wenig Hoffnung, unsere Erde zu besonders eindringliche Weise – die Meeren der Antipoden – solange es Jedoch nur in einem äußerst steten, heilen. Um eine Veränderung zu extremen Spuren zeigen, die die noch möglich ist. Als Einstimmung langfristigen Prozess. Denn selbst erzielen, wie die COP-Konferenzen sie rasante Entwicklungsgeschichte der auf das Zusammentreffen der unumstrittene, sofort umsetzbare anstreben, müssen wir selbst dieses Menschheit besonders in den letzten Weltexperten für den Umgang mit Beschlüsse werden erst nach vielen Zeitalter des allgegenwärtigen Jahrzehnten in Natur und Umwelt dem Klimawandel Mitte November Jahren Ergebnisse zeitigen können. Haben- und Seinwollens und hinterlassen hat. Mit den Mitteln von zur COP23, lässt die Ausstellung -könnens radikal umgestalten, Video, Fotografie und Skulptur und mitten in dem nervösen Treiben

12 — Landscapes of Loss Erwin Wurm • Leopoldstadt [Detail] • Page 44 • Cat 18 Landscapes of Loss — 13 des Potsdamer Platzes einen Kunst in den zentralen Dialog zur Von der vergänglichen Landschaft Wissen und Können für immer und Kontemplationsraum entstehen, Umweltpolitik. Ihr Anliegen ist es, und ihren schwindenden unausrottbar gespeichert ist. dessen Besucherinnen und ein Bewusstsein für den Einfluss der Geschöpfen wenden wir uns der Besucher in der Konfrontation und Menschen auf die bedrohte Natur soliden Beständigkeit des Steins zu. Der israelische Künstler Reifenberg in Auseinandersetzung mit den dort zu schaffen, um das lebenswichtige Die deutschen Künstler Andreas widmet sich generell in seinem gezeigten Kunstwerken Zeit zum Verhältnis mit ihr wiederherzustellen. Blank und Stefan Rinck arbeiten Schaffen der tödlichen Wirkung Nachsinnen darüber gegeben wird, Es werden Arbeiten aus zwei Zyklen als Bildhauer ausschließlich mit des „Neuen Mammon Öl“, indem er was uns allen geschehen kann, präsentiert: The Other Side of Stein. Beide sind sich bewusst, dass konsequent als Material für seine wenn auch die in diesem Jahr Nature / Panda (2014) und Dingo sie damit ein Material gewählt Collagen Plastikmüll aus aller Welt gefassten Beschlüsse nicht dazu (2013), beide in Naturschutzgebieten haben, das für das Wesen der Zeit verwendet – in der Ausstellung zu führen, dass die katastrophale in China und Australien selbst steht; in seine Schichten Kunst recycelte Plastiktüten. Zersetzung des Erdklimas langfristig aufgenommen, bezeugen sie mit der sind die Zeitalter unseres Planeten In Ölteppich / oilSpill (2010) vollendet aufgehalten wird. Reflektion über die Einsamkeit der eingeschrieben. Während Andreas sich erstmals sein künstlerisches letzten Vertreter ihrer Art eine intime Blank in seiner Skulptur Landscape Credo in Form eines Lichtobjektes, Nähe zum Leben von Tieren, von Metaphor (2014) das perfekte Bild das altarartig den Abfall unserer denen es vielleicht bald keine mehr einer Plastiktüte aus dem seltenen, Konsumpredigten mit einem Funken geben wird. Janet Laurences Video heute fast nicht mehr auffindbaren Ironie in der Art eines sakralen Deep Breathing – Resuscitation for Alabaster erschafft, lässt Stefan Kirchenfensters erstrahlen lässt. the Reef (2015) sowie die begleitende Rinck aus Sandstein, dem Stein der Fotoreihe Corral Collapse Romanik, mit seinen fünf Skulpturen Homeopathy (2015) sind für die COP21 Geschöpfe entstehen, die Mythen in Paris entstanden. Diese Serie von entsprungen zu sein scheinen Video- und Foto-Arbeiten wurde und die Legenden vergangener am australischen Great-Barrier- Zeiten, aber auch die Schöpfungen Riff aufgenommen. In dieser Serie und Bildnisse der Moderne in sich entwickelt Janet Laurence in Bezug tragen: Die Streichelwürstin (2017), auf dieses Weltkulturdenkmal als Chiaroscuro (2014), Gibbons don’t Von den zehn Künstlerinnen größte lebende, jedoch derzeit am have good press (2014), Roo (2013) und Künstler dieser Ausstellung schnellsten absterbende Struktur und Einhorn (2009). ist die namhafte australische der Erde, die Vision eines Hospitals für Künstlerin Janet Laurence diese bedrohten Korallen und andere Während die Arbeit von Andreas am ehesten bekannt für ihre Meeresarten des Riffs. Sie lässt die Blank in gewisser Weise den allzu Der italienische Künstler Stefano umweltbezogenen künstlerischen ansonsten unsichtbare Zerstörung vergänglichen, banalen Dingen Cagol und der japanische Künstler Projekte, die sie häufig gemeinsam unter der Meeresoberfläche wie unseres Alltags, wie auch dem Shingo Yoshida unternahmen beide mit Wissenschaftlern in Angriff mit injiziertem Kontrastmittel als Abfall und dem Zivilisationsmüll, ein eine lange Reise in die Arktis, um nimmt, die sich für internationale Negativ-Filmpassage sichtbar vollendetes und unvergängliches den Einfluss des Menschen auf die Umweltschutzinitiativen engagieren. werden und weckt damit Hoffnung Denkmal schafft, lässt Stefan Rinck Natur in Extremform aufzuzeichnen. Die Arbeit von Laurence ist eine auf Heilung der Unterwasserwelt von eine alternative Welt entstehen, die Am norwegischen Polarkreis direkte Reaktion auf die aktuellen den Folgen der Erderwärmung. er mit ewigen Steinwesen bevölkert, dokumentiert Stefano Cagols Video Umweltkatastrophen und stellt in denen alles menschliche Evoke Provoke (The Border) (2011)

14 — Landscapes of Loss Janet Laurence • Deep breathing, Resuscitation for the Reef – Part 2 [Still] • Page 30 • Cat 8 Stefano Cagol • Evoke Provoke (The Border) [Still] • Page 22 • Cat 2 Landscapes of Loss — 15 seine einsamen Versuche, in der (2012) gemeinsam geopolitischen Landschaft und unterstreicht damit weitläufigen Leere über eine Abfolge Einflüssen sowie Umweltkräften. die Fragilität der Landschaft selbst. von Lichtern und Signalfeuern Ihre Performance, aufgenommen zu kommunizieren. Auch hier mit in der israelischen Negev-Wüste, Der österreichische Künstler einem Anflug von Ironie. Zwar kann konfrontiert auf ironische Weise Erwin Wurm, der in diesem Jahr ein einzelner Mensch in dieser die Unerschütterlichkeit des Österreich auf der Biennale in Eislandschaft keinen sichtbaren Menschen in Konfrontation mit Venedig vertreten hat, holt uns aus Eindruck hinterlassen, aber der den Extremen von Natur und Kultur. den Dschungeln und Meeren, dem Einfluss der Menschheit als Ganzes Die Zeit läuft ab in diesem realen arktischen Ödland und den Glutöfen ist vernichtend. Shingo Yoshidas und politischen Hochofen der der Wüsten zurück in die Stadt – dem Reise in seinem Film The End of Day Negev-Wüste. Muslime und Juden Hauptlebensraum des Menschen and Beginning of the World (2015) sind zu menschlichen Sanduhren des 21. Jahrhunderts. Unsere urbane brachte ihn nach Sibirien, zum geworden, die aufzeigen, wie schnell Landschaft verändert sich so rapide Kreuzungspunkt des Polarkreises mit wir in endloser Wiederholung ins wie die natürliche. Jahrtausende dem 180. Längengrad, an dem sich Nirgendwo geraten. lang lebten Menschen auf diesem die internationale Datumsgrenze Planeten in Familien und Dörfern orientiert, welche zwei aufeinander- zusammen. Heute leben sie als folgende Kalendertage trennt. Singles in Städten oder Mega-Citys, Dieser Film zeigt eine von der wo Millionen zusammengepfercht lokalen Chukchi-Folklore und ihrem in gesichtslosen Wohnsilos und Brauchtum inspirierte Reise an einen Wolkenkratzern existieren. Erwin Ort, wo die Natur das Zepter in der Wurms vier Arbeiten aus der Hand hat und die Menschen sich, um Reihe Leopoldstadt (2004) - einer zu überleben, an die Traditionen ihrer Fotoserie seiner berühmten „One Ahnen klammern. Auf der Grenzlinie minute sculptures“ - konfrontieren zwischen zwei Tagen ist dies ein Auch die koreanisch-amerikanische uns mit unserem Sein im Kontext Ort wirkmächtiger Mythologie Künstlerin Miru Kim befasst sich mit unseres heutigen Lebensraums und magischer Landschaften. ihrer Arbeit Wadi Rum, Jordanien, „Stadt“ mit den Mitteln des Absurden. Es ist ein Ort der Extreme, der Arabische Wüste 3 aus ihrer Serie Vereinzelte, abwegig auf leeren menschengemachten Grenzen und Camel’s Way (2012) mit der Wüste. Straßen posierende Gestalten dem Einfluss des Menschen trotzt, Die nackte Frau, ein Archetypus kann man als Zeichen urbaner dem aber die Zerstörung durch seit Anbeginn der westlichen Entfremdung lesen. Aber der diesen den Klimawandel dennoch bereits Kunstgeschichte, ist hier während Szenen zugleich innewohnende gefährlich nahe kommt. einer dreiwöchigen Reise durch Witz lässt unwillkürlich schmunzeln die Wadi-Rum-Wüste Jordaniens und plötzlich hoffen, dass es dem Über das Medium der Performance dem heißen Sand und den rauen Menschen gelingen wird, sich widmen sich die deutsch-türkische Bergen ausgesetzt. Miru Kim ohne weitere Zerstörung in seine Künstlerin Nezaket Ekici und komponiert ihren fragilen Körper heutige Umwelt einzufügen und der israelische Künstler Shahar völlig undramatisch in die Dramatik die Balance zu halten, so fragil das Marcus in ihrem Video Sandclock der natürlichen Extreme dieser Gleichgewicht auch sein mag!

16 — Landscapes of Loss Nezaket Ekici • Sandclock [Still] • Page 24 • Cat 4 Landscapes of Loss — 17 Artists and Works This exhibition ranges from the Andreas Blank was born in Ansbach ephemeral landscape and its in 1976. He attended the Karlsruhe vanishing creatures, to the solid State Academy of Art (Staatliche permanence of stone. German Akademie der Bildenden Künste) artist Andreas Blank is a sculptor and was Meisterschüler under Prof. working exclusively with stone. He Klingelhöller. He held a scholarship is conscious of his chosen medium with the German National Academic as a material reflecting the very Foundation and received his MFA substance of time; in its strata are from the Royal College of Art in recorded the ages of the planet. In London. In 2009 he was a finalist Landscape Metaphor (2014) Andreas for the New Sensations Award by Blank fashions out of quartz a perfect Channel 4 and the Saatchi Gallery.

Andreas Blank replica of a plastic bag, turning his He lives and works in Berlin. Andreas art to sculpting the detritus of our Blank‘s stone encarved trompe planet, recreating in timeless stone l’oeils seem casual at first sight. the all too temporary objects of the However, his arrangements are day-to-day. Landscape Metaphor precisely staged and after closer (2014) is on loan for this exhibition inspection one discovers that light from the Collection of the Ministry bulbs, transport boxes and plastic of the Environment. bags are made of marble, alabaster or sandstone. In his sculptural practice, Andreas Blank combines the abstract and the realistic, the conceptual as well as the technical. He sources stones from quarries from all over the world, carves them with elaborate deliberation and assembles them into sometimes consciously stylized, and other times deceptively realistic objects of the everyday. In his precise installations, the apparently ephemeral objects achieve monumental permanence. Whether marble, alabaster, or porphyry, material historically used to serve religious or political functions, has in Blank’s hands acquired the seemingly casual character of the mundane and wasteful. Questioning the obvious and transforms traditional ideals and values, the geographical and cultural identity of the stone and the memorial function of stone- sculpture in general subvert our usually impermanent relation to the objects we use.

Landscape Metaphor 20 — Landscapes of Loss 2014 • Alabaster, marble, sandstone • 120 × 45 × 35 cm • Cat 1 Landscapes of Loss — 21 The impact which mankind has Stefano Cagol (Trento, 1969) upon the natural environment is graduated at the Accademia di at the root of this work created at Brera in Milan and received a post- Kirkenes, in the Norwegian Arctic doctoral fellowship at Ryerson Circle, during one of the periods University in Toronto. He participated Cagol spent abroad as an artist in Manifesta 11 in Zurich, in the 55th in residence. The artist staged a Venice Biennale in 2013 invited by series of emblematic actions that he the Maldives Pavilion, in the 54th filmed with a video camera, in total Venice Biennale with a solo collateral solitude, immersed in a fascinating event, in the 4th Berlin Biennale but hostile natural environment, with a special project and in the 1st in extreme climactic conditions. Singapore Biennale in 2006, and

Stefano CagolStefano The setting seems to be cloaked the 2nd Xinjiang Biennale in 2016. in twilight, barely dispelling the In 2014–2015 his solo project The darkness, and the temperature is 25 Body of Energy (of the mind) was degrees below zero. In those frozen presented at the MAXXI Museum in lands, Cagol tries to communicate in Rome, at Madre in Naples, at Maga one way or another, using different in Gallarate, at Museion in Bolzano, forms of signaling. He endeavours at Kunsthalle St. Gallen, at ZKM in to modify the landscape, to light it Karlsruhe and at Museum Folkwang up, to melt the snow with a flame, in Essen. Cagol has presented his but every attempt at interaction works and actions at Kunstmuseum with this harsh environment is in Bochum, Museion in Bozen, Laznia vain. The irony here is not lost. While in Gdansk, Westergasfabriek in one man cannot make a visible Amsterdam, Kunstraum Innsbruck, impact upon this frozen landscape, MARTa Herford, among many others. the impact of mankind as a whole Among prizes and awards he was is all too devastating. For Cagol in recipient of the Visit prize of the this case the border is precisely German foundation RWE in 2014 and the one between himself, his body of the Terna Prize for Contemporary and his mind, the extreme nature Art in 2009. He participated in many that surrounds him, and the impact artist residencies and received which mankind has upon this fellowships including: Cambridge natural environment. Evoke Provoke Sustainability Residency; Air Bergen; (The Border) was shown at the solo VIR-Viafarini-in-residence in Milan; exhibition Concilio in the church of BAR International in Kirkenes; San Gallo, as a collateral event at the International Studio and Curatorial 54th Venice Biennale. Program ISCP and International Center of Photography in New York.

From the top  Evoke Provoke (The Border) 2011 • Lambda printing on alu-dibond and 5mm plexiglass • 70 × 100cm • Cat 3 Evoke Provoke (The Border) 22 — Landscapes of Loss 2011 • HD Video • 12’ 30“ • Cat 2 Landscapes of Loss — 23 Turkish / German artist Nezaket Ekici often absurd ways in which people and Israeli artist Shahar Marcus interact with the environment. together address geopolitical and In this, as a German-based Muslim environmental forces through the and an Israeli-based Jew, they medium of performance in their collaborate on performances video Sandclock (2012). Shot in the and videos that bridge cultures burning sands of Israel’s Negev and religions as well as the long Desert, their performance ironically distances between Berlin and Tel confronts human endurance Aviv. Focusing on the origin of the with the extremes of nature and latin word relatio (relation), meaning culture. In this actual and political ‘bringing back’, they set out to bring hotbed, time is running out, and back a knowledge that has been Muslim and Jew alike are turned forgotten by most of us: a relation into human sand-clocks measuring with ourselves and our environment. how quickly we are getting nowhere Since 2012 they have produced seven with solutions for political and video works together: Salt Dinner, environmental stability. Nezaket Sand Clock, Floating Ourselves, Ekici and Shahar Marcus both work Clean Coal, Fossils, Fields of Breath separately as artists but started and Lublin Beach, all concentrating to collaborate on projects in 2012. on the Ancient Greek aphorism γνώθι Their ongoing project In Relation σεαυτόν: know thyself. revolves around an exploration of time, space, culture, religion, and the Nezaket Ekici & Shahar Ekici Nezaket Marcus

Sandclock 24 — Landscapes of Loss 2012 • C-Print on 3mm alu-dibond • 40 × 60 cm • Cat 5 Landscapes of Loss — 25 Nezaket Ekici was born in 1970 in Shahar Marcus was born 1971 Kırşehir, Turkey, and lives and works in Petach Tikva, Israel, and lives between Berlin and Stuttgart. She and works in Tel Aviv. He studied studied art pedagogy, art history, Linguistics at the University of Tel and sculpture at Ludwig Maximilian Aviv (1993–1997), and continued University and the Fine Arts Academy, his studies for an M.A. in History of Munich, and received her MA Art (1999–2004) at the University of degree in Art Pedagogy (1994–2000). Tel Aviv. Selected solo exhibitions Thereafter, she studied performance include: Going, Going Gone, Haifa art with Marina Abramovic at Museum of Art, Haifa (2015); All is Gold, the Hochschule der Bildenden The Municipal Gallery, Rehovot (2014); Künste Braunschweig, where she Solo project at Threshold Gallery, received her BFA and MFA (2001–04). India Art Fair, New Delhi (2013); 1,2,3 Nezaket Ekici recently participated Herring, MoCA Hiroshima, Hiroshima in the prestigious international (2012); The Curator, The Petach Artist Resedency Programs of the Tikva Museum of Art; The Memorial German Aacademy in Rome at the Employee, Dana Art Gallery, Kibbutz Villa Massimo (2016–2017), and the Yad Mordechai (2011); Bread & Bunker, German Foreign Ministry Residency Mediations Biennale, Poznań (2010). in Tarabia, Istanbul (2015–2016). Recent group exhibitions include: 56th Venice Biennale, 2015; Petach Tikva Museum of Art, Israel, 2015; The Pleasure of Love, 56th October Salon, Belgrade, 2016; The Contemporary Art Gallery of Georgia, Georgia National Museum, Tbilisi, 2016; MOCAK, Museum of Contemporary Art, Krakau, 2016; Museum Villa Rot, Burgrieden, 2016; Gabriele Münter Preis, Akademie der Künste, Berlin & Frauenmuseum, Bonn, 2017.

 Sandclock 26 — Landscapes of Loss 2012 • Full-HD Video • 5’ 7“ • Cat 4 Landscapes of Loss — 27 Korean / American artist Miru Kim, Miru Kim was born in Stoneham, in her Camel’s Way series (2012), Massachusetts in 1981, but was immerses herself in the world’s raised in Seoul, Korea. She moved deserts for over two years. The to New York in 1999 to attend Camel’s Way follows her journey to Columbia University, and in 2006 deserts around the world, including she received an MFA in painting the Arabian Desert, the Sahara from the Pratt Institute. Miru Kim in Mali, Morocco, and Egypt, the is a New York-based artist and Miru Kim Thar in India, and the Gobi Desert explorer. Her first series,Naked City in Mongolia, where she lived with Spleen is based on her exploration desert nomads, slept in caves, and of urban ruins such as abandoned photographed herself with camels. subway stations, tunnels, sewers, In the work shown in this exhibition, catacombs, factories, hospitals, and the female nude, an archetype shipyards. Her next series, The Pig since the dawn of western art That Therefore I am juxtaposes her history, is transposed to the sands skin against the pig’s skin in industrial and mountains in a 3-week journey hog farms to explore the changing through Jordan’s Wadi Rum Desert. relationship between humans In positioning the fragility of her and animals. Currently she is own body within the drama of working on a book about her body this natural landscape, Miru Kim of work, The Camel’s Way. Miru’s succeeds in highlighting the fragility work has been featured in many of the landscape itself. international publications, and is held in public collections including: the National Museum of Modern and Contemporary Art, Korea; Seoul Museum of Art; Hanmi Photography Museum; Leeum Samsung Museum of Art; Borusan Contemporary, Turkey; and the Addison Gallery of American Art.

Wadi Rum, Jordanien, Arabische Wüste 3 28 — Landscapes of Loss Aus der Rehie “The Camel’s Way” • 2012 • Photoprint • 150 × 100 cm • Cat 6 Landscapes of Loss — 29 Of the ten artists in this exhibition, Reef (2015), and accompanying renowned Australian artist Janet photo series Corral Collapse Laurence is most known for her Homeopathy (2015) were created for work with the environment, often the UN Climate Conference, COP21, undertaken together with scientists in Paris. Shot in Australia’s Great engaged in international conser- Barrier Reef — a World Heritage site vation initiatives. Laurence’s practice which is the planet’s largest living, is a direct response to contemporary and rapidly dying, structure — this ecological catastrophes, positioning series of works envisions a hospital art within the essential dialogue for the Reef’s threatened corals of environmental politics to create and other marine species, making and communicate an under- visible the otherwise invisible standing of the impact that humans devastation beneath the surface Janet Laurence Janet have upon the threatened natural of the sea, and offering hope for the world, in order to restore our vital healing of the marine world from the relationships with it. Works from two consequences of global warming series are shown here: the Vanishing and human impact. If we can care for series, depicting endangered marine life in the same way that we animals on the verge of extinction; care for our own species, there is a and Deep Breathing, shot while chance of deflecting environmental working with scientists researching catastrophe. Laurence’s work is an corral collapse in Australia’s Great emergency response: a hospital for Barrier Reef, and commissioned for the Reef in this time of ecological Artists 4 Paris Climate, the exhibition crisis, intended to aid survival and program for COP21, the UN Climate effect transformation. Change Conference in 2015.

Reflecting on the loneliness of the last of a species, The Other Side of Nature / Panda (2014), and Dingo (2013), shot in nature reserves in Chengdu, China and Victoria, Australia, chronicle in intimate proximity the lives of animals that could soon be the last of their kind.

Janet Laurence’s video Deep Breathing – Resuscitation for the “These are the days of violent extinctions, of global dimming and moving dust bowls, of habitat fragmentation, ice melt, and plundered lives. Animals are experiencing all this loss, and if we could better hear the waves of their agony, we would know this and be tormented.”

– Debbie Bird Rose

 Deep breathing, Resuscitation for the Reef – Part 1 30 — Landscapes of Loss 2015 • Full-HD Video • 11’ 51" • Cat 7 Landscapes of Loss — 31 Janet Laurence is among Australia’s TarraWarra Museum of Art, Healsville, most established artists. In 2015 Victoria, Australia (2013); 1⁄2 Scene, she was the Australian repre- Australia China Art Foundation sentative for the COP21 / FIAC, Shanghai (2013); SCANZ: 3rd Nature, Artists 4 Paris Climate Exhibition New Plymouth, New Zealand (2013); for the UN Climate Conference in After Eden, Sherman Contemporary Paris, for which she created Deep Art Foundation, Sydney (2012); Breathing – Resuscitation for the Reef The Alchemical Garden of Desire, and Corral Collapse Homeopathy, McClelland Gallery, Victoria, both shown in this exhibition. Further Australia (2012). Janet Laurence is selected recent international a recipient of Rockefeller, Churchill, projects and exhibitions include: and Australia Council Fellowships, the 57th Biennale of Venice (2017); and the Alumni Award for Arts, Veiling Medical Glass, A Medicinal University of New South Wales. She Maze, Novartis Campus, Sydney was a Trustee of the Art Gallery of (2017); The Treelines Track, Bundanon, New South Wales, a former Board Australia (2017); GASP: Parliament, Member of the Visual Arts Board of Hobart, Tasmania (2017); Inside the the Australia Council, and is a Visiting Flower, IGA Berlin (2017); Schloss Fellow at the New South Wales Biesdorf, Centre for Art and Public University Art and Design. Space, Berlin (2017); Fellowship at the Hanse-WissenschaftKolleg (HWK), Germany (2016–2017); H2O Water Bar, Paddington Water Reservoir, Sydney (2016); Deep Breathing (Resuscitation for the Reef), Australian Museum, Sydney (2016); Cuenco Bienal, Cuenco, Ecuador (2016); Deep Breathing: Resuscitation for the Reef, Musée National d’Histoire Naturelle, Paris (2015); The Skullbone Experiment: A Paradigm of Art and Nature, Queen Victoria Museum, Tasmania (2014); Animate / Inanimate,

 Deep breathing, Resuscitation for the Reef – Part 2 32 — Landscapes of Loss 2015 • Full-HD Video • 21’ 7" • Cat 8 Landscapes of Loss — 33 From top left clockwise Corral Collapse Homeopathy #1, 7, 8, 9 Corral Collapse Homeopathy #2 34 — Landscapes of Loss 2015 • Kodak metallic C-type photographic paper, processed in RA-4 chem • 126 × 86 cm • Cat 9 2015 • Kodak metallic C-type photographic paper, processed in RA-4 chem • 126 × 86 cm • Cat 9 Landscapes of Loss — 35 The Other Side Of Nature / Panda Dingo 36 — Landscapes of Loss 2014 • HD Video • 9’ 18" • Cat 10 2013 • HD Video • 4’ 9" • Cat 11 Landscapes of Loss — 37 Berlin-based Israeli artist Reifenberg Reifenberg was born in Haifa, Israel, addresses the detritus polluting our in 1960 and studied Philosophy of environment, working throughout Aesthetics at Gideon Ofrat in Tel his practice with plastic bags Aviv. Reifenberg left his homeland recycled into the medium of his during the Lebanon War in 1982, and art. In Ölteppich (oilSpill) (2010) since 1988 he has lived and worked he fashions a lightbox recreating in Berlin. He has participated in the satellite image of an oil spill; numerous international exhibitions, ironically using the petroleum- including: Museo Metropolitano,

Reifenberg based material of the ubiquitous Lima, Peru (2015); Stiftung Zollverein, plastic bag to depict one of the Essen (2014); dotLand, Peninsula, many man-made catastrophes to Berlin (2014); Musraramix Festival, devastate our planet. In using the Jerusalem (2014); Natura Naturata, trash of consumerist excess and a WiE Gallery, Berlin (2014); Conjunction, pollutant of our environment as the Greenhous, Berlin (2014); Capilla del material of his artworks, Reifenberg’s Arte UDLAP, Mexico (2014); Galeria works live from the inner tension Marta Traba, São Paulo (2013); Pool, between commodity fetishism MUDAC, Lausanne (2013); Memory and worthlessness, the world of of Present, Coup de dés, Berlin consumerism and decay, colourful (2012); Green Bag – Movement, splendor and environmental Nachahmung Empfohlen!, Iberia destruction. And in making Ölteppich Center, Peking (2012). (oilSpill) into a lightbox, Reifenberg adds the tension between the sacred and profane; creating out of trash the likeness of a stained glass window, only to depict demise of our environment in its mosaic of colours.

Ölteppich (oilSpill) 38 — Landscapes of Loss 2010 / 2017 • Plastic bags, scotch tape, stretchers, plexiglas, led lights • 150 × 150 × 8 cm • Cat 12 Landscapes of Loss — 39 German artist Stefan Rinck is a Stefan Rinck was born in 1973 in sculptor working exclusively with Homburg / Saar, and currently lives the solid permanence of stone. and works in Berlin. Rinck studied Conscious of the timelessness of Art History and Philosophy at the his medium, Stefan Rinck creates Universität des Saarlandes in creatures reminiscent of a bygone Saarbrücken, and Sculpture at the age of totems and effigies. In the Academy of Arts in Karlsruhe. Stefan series of five sculptures shown in Rinck has had many gallery and this exhibition — Die Streichwürstin museum exhibitions, including: (2017), Chiaroscuro (2014), Gibbons Sorry We`re Closed (Brussels), don’t have good press (2014), Roo Vilma Gold (London) and Patricia Stefan RinckStefan (2013), and Unicorn (2009) — Stefan Low Contemporary (Gstaad, St. Rinck builds an alternative Moritz), de Hallen (Haarlem), Gallery mythology, pitting man-made Rüdiger Schöttle (Munich), The time against the timelessness of Breeder (Athens), Galeria Alegria imagination, populating our world (Madrid), Cruise&Callas and Klara with eternal creatures of stone able Wallner Gallery (both in Berlin). He to withstand any extinction. participated in the Busan Biennale in South Korea and at the Vent des Forêt in France where he has realized permanent public sculptures.

 Above top Gibbons don’t Have Good Press 2014 • Sandstone • 75 × 35 × 15cm • Cat 15

Above bottom Die Streichwürstin 40 — Landscapes of Loss 2017 • Sandstone • 120 × 65 × 35 cm • Cat 13 Landscapes of Loss — 41 Above left Chiaroscuro 2014 • Sandstone cactus • 38 × 39 × 18 cm • Cat 14 Above right Unicorn Roo 42 — Landscapes of Loss 2009 • Sandstone • 39,5 × 9,5 × 45 cm • Cat 17 2013 • Sandstone • 35 × 11 × 16 cm • Cat 16 Landscapes of Loss — 43 In this exhibition, celebrated Austrian Erwin Wurm came to prominence artist Erwin Wurm brings us out of the with his One Minute Sculptures, a jungles and seas, the Arctic wastes, project that he began in the late and the scorching deserts, back into 1980s. In these works, Wurm gives the city. Our urban landscape is an written or drawn instructions to environment changing as rapidly participants that indicate actions as our natural one. The way people or poses to perform with everyday have lived upon this planet for mundane objects. These sculptures millennia in family groups and are by nature ephemeral, and by villages is well on its way to being incorporating photography and

Erwin Wurm replaced by the megacity, with performance into the process, Wurm millions living and working packed challenges the formal qualities of the into faceless high-rises. Erwin medium as well as the boundaries Wurm’s photo series of one-minute between performance and daily sculptures, Leopoldstadt (2004), life, spectator and participant. While confronts through absurdity our in this series he explores the idea place in the urban landscape. The of the human body as sculpture, solitary figures posing incongruously Wurm consistently works within the in empty streets could be seen as liminal space between high and a sign of urban alienation, but the low, merging genres to explore what humor inherent to these scenarios he views as a farcical and invented gives us hope that humanity will reality. While Wurm considers humor find a way to fit into our landscape, an important tool in his work, there is however fragile the balance. always an underlying social critique of contemporary culture.

Leopoldstadt 44 — Landscapes of Loss From the series “Leopoldstadt” • 2004 • C-Print • 80 × 66 cm • Cat 18 Landscapes of Loss — 45 Erwin Wurm was born in 1954 in HEIMsuchung: Uncanny Spaces in Bruck an der Mur / Styria, Austria, Contemporary Art, Kunstmuseum and lives and works in Vienna and Bonn, Germany (2013); The Original Limberg, Austria. He graduated from Copy: Photography of Sculpture, the University of Graz, Austria, in 1977, 1839 to Today, Kunsthaus Zürich, and Gestaltungslehre University Switzerland, traveled to The Museum of Applied Art and the Academy of of Modern Art, New York (2011); and Fine Art, Vienna in 1982. Recent solo Temporary Structures: Performing exhibitions include: The Austrian Architecture in Contemporary Art, Pavilion, the 54th Biennale of Venice deCordova Sculpture Park and (2017); 21er Haus, Belvedere, Vienna Museum, Lincoln, MA, USA (2011). (2017); Museum Küppersmühle für Wurm’s work is in numerous Moderne Kunst, Duisburg, Germany international public and private (2017); Leopold Museum, Vienna collections, including Albertina, (2017); Centro Cultural Banco do Vienna; Albright-Knox Art Gallery, Brasil, São Paulo, Brazil (2017); Buffalo, New York; Centro de Arte Berlinische Galerie, Berlin (2016); Contemporáneo de Málaga, Spain; Schindler House, MAK Center for Art Centre Georges Pompidou, Paris; and Architecture, West Hollywood, Kunsthaus Zürich, Switzerland; CA (2016); Bangkok Art and Culture Kunstmuseum Bonn, Germany; Center, Thailand (2016); Indianapolis Museo d’Arte Moderna di Bologna, Museum of Art, IL (2015); Museum Italy; The Museum of Modern Art, of Contemporary Art in Kraków, New York; Solomon R. Guggenheim Poland (2013); Centro de Arte Museum, New York; Vancouver Art Contemporáneo de Málaga, Spain Gallery, Canada; and Walker Art (2012); and Dallas Contemporary, Center, Minneapolis. TX (2012). Select group exhibitions include: Performing for the Camera, Tate Modern, London (2016); Precarious Balance, Centre of Contemporary Art, Christchurch, New Zealand (2016); Desire for Freedom, Museum of Contemporary Art in Kraków, Poland (2013);

Leopoldstadt 46 — Landscapes of Loss From the series “Leopoldstadt” • 2004 • C-Print • 80 × 66 cm • Cat 18 Landscapes of Loss — 47 Above and opposite Leopoldstadt 48 — Landscapes of Loss From the series “Leopoldstadt” • 2004 • C-Print • 80 × 66 cm • Cat 18 Landscapes of Loss — 49 Japanese artist Shingo Yoshida Shingo Yoshida, born in 1974 in Tokyo, ventured on a long journey into the and currently lives and works in Arctic to record mankind’s impact Berlin. Yoshida received his MA with upon nature at its most extreme. highest honors from Ecole Nationale Yoshida’s journey in his filmThe End Supérieure d’Art, Villa Arson in Nice of Day and Beginning of the World France in 2004. In 2005 he earned (2015) took him to Siberia, to the point a post-graduate diploma at the where the Arctic Circle crosses the Ecole Nationale Supérieure des 180th Meridian, the basis for the Beaux-Arts de Lyon, France, and International Date Line separating subsequently in 2007 he received two consecutive calendar days. another post-graduate diploma Inspired by local Chukchi folklore in the Program La Seine of Ecole and customs, this film is a journey Nationale Supérieure des Beaux-Arts

Shingo Yoshida into a place where nature rules, and de Paris. in 2013 Yoshida completed mankind clings to the traditions the prestigious international artist of their ancestors in order to residencies at Villa Arson Nice survive. Straddling the border France – Centre National d’Art between two days, it is a place of Contemporain, and was awarded strong mythologies and magical the Fellowship of Overseas Study landscapes; an environment of Programme for Artists by the Agency extremes which defies man-made for Cultural Affairs of the Japanese borders and mankind’s influence, yet Government. Yoshida’s work has is still perilously close to destruction been shown in many international from climate change. exhibitions, including: Palais de Tokyo, Paris (2007, 2012); the Museo de Photographer and video artist, Arte Contemporáneo MAC, Santiago, Shingo Yoshida, finds inspiration Chile (2012); the 60th International in travelling, myths, traditions and Short Film Festival Oberhausen, the overwhelming beauty of nature. Germany, (2014); Videoart at Yoshida considers the world as Midnight #67: Shingo Yoshida, his studio and therefore a place BABYLON, Berlin (2015); POLARIZED! of constant creation. In his video Vision Competition Winner, Lapland, and photographic works Yoshida Rovaniemi, Finland (2015); Gunma expresses his deep reverence for Museum of Art, Tatebayashi, Gunma, nature and its power. In his photo Japan (2016); Mulliqi Prize, National series Journey to the Center of the Gallery of Arts, Prishtina, Kosovo Earth, Yoshida travels to Iceland to (2016); Instituto Zappa (Accademia envision his own reinterpretation of Di Brera) Viale Marche, Milan, Italy Jules Verne’s eponymous book. (2016); Onufri International Prize, National Gallery of Arts, Tirana (2016); IkonoTV (2017). In 2016 Shingo Yoshida’s works entered into the following Collections in Berlin: Berlinische Galerie, Akademie der Künste, and Fluentum.

The End of Day and Beginning of the World #0 50 — Landscapes of Loss 2015 • C-Print on 1mm alu-dibond • 126,2 × 84,1 cm • Cat 20 Landscapes of Loss — 51 Above and opposite The End of Day and Beginning of the World 52 — Landscapes of Loss 2015 • 4K Video • 22’ 8“• Cat 19 Landscapes of Loss — 53 Mystery on the Isle of Skye-Nessieland #01 Journey to the Center of the Earth 54 — Landscapes of Loss 2014 • C-Print on 1mm alu-dibond • 33,3 × 50 cm • Cat 22 2014 • C-Print on 1mm alu-dibond • 84,1 × 126,2 cm • Cat 21 Landscapes of Loss — 55 Andreas Blank Please click on the links to visit the websites 1 — Landscape Metaphor 2014 • Alabaster, marble, sandstone • 120 × 45 × 35 cm • Photo by Andreas Blank Andreas Blank Stefano Cagol andreasblank.com 2 — Evoke Provoke (The Border) 2011 • HD Video • 12’ 30“ Stefano Fagol 3 — Evoke Provoke (The Border) stefanocagol.com 2011 • Lambda printing on alu-dibond and 5mm plexiglass • 70 × 100 cm Nezaket Ekici Nezaket Ekici ekici-art.de 4 — Sandclock Miru Kim 2012 • Full-HD Video • 5’ 7“ mirukim.com 5 — Sandclock Janet Laurence 2012 • C-Print on 3mm alu-dibond • 40 × 60 cm • Photo by Maya Elran janetlaurence.com List of works of List Miru Kim

Reifenberg Links External 6— Wadi Rum, Jordanien, Arabische Wüste 3 dodireifenberg.com Aus der Rehie “The Camel’s Way” • 2012 • Photoprint • 150 × 100 cm • Photo by Miru Kim Stefan Rinck Janet Laurence stefanrinck.com 7 — Deep breathing, Resuscitation for the Reef – Part 1 2015 • Full-HD Video • 11’ 51“ Erwin Wurm 8 — Deep breathing, Resuscitation for the Reef – Part 2 erwinwurm.at 2015 • Full-HD Video • 21’ 7“ Shingo Yoshida 9 — Corral Collapse Homeopathy #1, 2, 7, 8, 9 shingoyoshida.com 2015 • Kodak metallic C-type photographic paper, processed in RA-4 chem • 126 × 86 cm 10 — The Other Side Of Nature / Panda 2014 • HD Video • 9’ 18“ Constanze Kleiner 11 — Dingo constanzekleiner.com 2013 • HD Video • 4’ 9“ Rachel Rits-Volloch Reifenberg momentumworldwide.org/about-us/bio 12 — Ölteppich (oilSpill) 2010 / 2017 • Plastic bags, scotch tape, stretchers, plexiglas, led lights • 150 × 150 × 8 cm • Photo by Stefan Maria Rother

Stefan Rinck Bundesministerium für Umwelt, Naturschutz, Bau und Reaktorsicherheit 13 — Die Streichwürstin bmub.bund.de 2017 • Sandstone • 120 × 65 × 35 cm • Photo by Stefan Rinck World Climate Conference COP 23 14 — Chiaroscuro cop23.de 2014 • Sandstone cactus • 38 × 39 × 18 cm • Photo by Stefan Rinck cop23.de/bmub/verschwindende-landschaften 15 — Gibbons don’t Have Good Press MOMENTUM Berlin 2014 • Sandstone • 75 × 35 × 15 cm • Photo by Torsten Heinze momentumworldwide.org 16 — Roo momentumworldwide.org/exhibitions/landscapes-of-loss 2013 • Sandstone • 35 × 11 × 16 cm • Photo by Stefan Rinck Exhibition Trailer 17 — Unicorn vimeo.com/238395558 2009 • Sandstone • 39,5 × 9,5 × 45 cm • Photo by Stefan Rinck

Erwin Wurm 18 — Leopoldstadt Four photos from the series “Leopoldstadt” • 2004 • C-Print • 80 × 66 cm • Photos by Erwin Wurm

Shingo Yoshida 19 — The End of Day and Beginning of the World 2015 • 4K Video • 22’ 8“ 20 — The End of Day and Beginning of the World #0 2015 • C-Print on 1mm alu-dibond • 126,2 × 84,1 cm • Photo by Shingo Yoshida 21 — Journey to the Center of the Earth 2014 • C-Print on 1mm alu-dibond • 84,1 × 126,2 cm • Photo by Shingo Yoshida 22 — Mystery on the Isle of Skye-Nessieland #01 2014 • C-Print auf 1mm Aluminum • 33,3 × 50 cm • Photo by Shingo Yoshida

All works Courtesy Sammlung Bundesministerium für Umwelt, Naturschutz, Bau und Reaktorsicherheit

56 — Landscapes of Loss Landscapes of Loss — 57 Published on the occasion of the exhibition Art Publisher MOMENTUM Berlin Verschwindende Landschaften Editors Constanze Kleiner & Rachel Rits-Volloch Landscapes of Loss Catalogue design Emilio Rapanà

At Bundesministerium für Umwelt, All rights reserved. No part of this publication Naturschutz, Bau und Reaktorsicherheit may be reproduced, stored in a retrieval Stresemannstraße 128–130, 10117 Berlin system or transmitted in any form or by any 3 to 5 November 2017 means, electrical, mechanical or otherwise, without first seeking the written permission of At World Climate Conference COP 23 the copyright holders and of the publisher. The 6 to 17 November 2017 publisher has made every effort to contact all Colophon copyright holders. If proper acknowledgement Exhibition Curators has not been made, we ask copyright holders Constanze Kleiner & Rachel Rits-Volloch to contact the publisher.

Exhibition produced for the Ministry for This catalogue is not intended to be used for Environment, Nature Conservation, Building authentication or related purposes and Nuclear Safety MOMENTUM gUG accepts no liability for any errors or omissions that the catalogue may In cooperation with inadvertently contain. MOMENTUM Berlin Published by MOMENTUM gUG (haftungsbeschränkt) Kunstquartier Bethanien Mariannenplatz 2, 10997, Berlin, Germany www.momentumworldwide.org

Texts © the authors 2017 (unless otherwise stated) Artworks © the artists 2017 (unless otherwise stated) Front cover courtesy and © Shingo Yoshida 2017 Back cover courtesy and © Janet Laurence 2017

MOMENTUM Team Dr. Rachel Rits-Volloch • Founding Director Emilio Rapanà • Co-Director & Head of Design Leslie Ranzoni • Head of Production Sara Valcárcel • Intern

58 — Landscapes of Loss