What the artists say …

Teaser for the film FLUX

Nathalia Favaro and Miki Yui: FLUX

The short film (25min) is a poetic essay, tracing the journey of Nathalia through the Brazilian Amazon Rainforest and her meetings with protagonists from the forest and the river. Images of the forest and the river in their infinite dimension, stories of people who live in mutual exchange with their environment, the film reflects both micro and macro views on the life within the forest, showing the intertwined ecosystem we are part of.
The protagonists tell their unique stories of their lives while working strongly connected to nature. The poet on the boat explains our life emerging from the water, the meteorologist (INPA / Max Planck Institute) who researches at ATTO (Amazon Tall Tower Observatory) explains the cycle of water and the relation between our life and climate change from a scientific point of view. A student of UFP – Unconventional Food Plants (PANCS in Portuguese) talks about the impact of food production and consumption in our daily life, which are inseparable from the environment.
All the stories circulate around the flow of energy: the cycle of carbon and water. These elements are not only the primary source of life but also regulate the condition of the planet. The environment is a synthesis of all factors including ourselves.
The film questions our view of life on this planet in its entity and invites the audience to learn about life in its true form: in flux.

This film is made possible through kind support from Goethe Institute São Paulo, and is exhibited at Humboldtjahr 2019 – the event for 250 years anniversary of Alexander von Humboldt in Bogotá, Colombia.
The collaboration has emerged after LABVERDE artistic residency in which both artists participated. It took place in Adolfo Ducke Forest Reserve in Manaus Brazil and at Rio Negro River, in August 2018. http://www.labverde.com


Tina Ribarits talks about her work

Tina Ribarits: the other planet
At the centre of the other planet, both spatially and conceptually, there is a lush, green forest. A camera moves slowly through giant leaves, examining every angle, immersing the viewer in this overwhelming space. The image does what it can to prove to us: this is real. Or, implicating our bodies: you are here. This very insistence comes off as suspicious, undermining its own claims. As in other works by Tina Ribarits, though, there is a twist. This seeming simulation gestures towards computer-generated, stereoscopic 3D imaging, but is in fact the result of Ribarits’ genuine time spent in the Brazilian Amazon. You may not be there, but she has been. Really. The aim of virtual reality is to convince. It is a form of fiction geared fundamentally towards the construction of evidence. the other planet produces a simulation of this form – a virtual virtuality. However, in doing so, it does not return us back to some unsullied, prelapsarian real (the video may have been truly shot in the rain forest, but the image is not non manipulated). Rather, it calls attention to the modes by which evidence is produced. The Brazilian Amazon is not an abstract or arbitrary site for this investigation; this focus on evidence references, in part, the rain forest’s status as a research laboratory, with its supreme biodiversity and precarious future. In this sense, the work resists the reductive view of science as a practice of pinning things down, containing them. Knowledge has the capacity to make the world bigger, more connected, more varied. This is not, though, to ignore the colonial histories of the Amazon forest basin, or the colonial implications of pitting the real against the other. A video composed of one long, slow take along the Amazon river is a clear, if multi-purpose, reference to a range of sources which call to mind these histories, from Heart of Darkness, to Apocalypse Now, to Fitzcarraldo. The Congo, Vietnam, the Peruvian and Brazilian Amazon are collapsed into a single colonial viewpoint, inside the boat, moving on the water, part of the scene but also outside it.
Text by Johanna Linsley


Stig Marlon Weston talks about his methods

Stig Marlon Weston

“Empirical”  is a photographic exploration of the Amazon rainforest landscape, investigating how the scientific method of looking at climate change can be depicted as a way in which to see and sense the natural environment from a local perspective.

Stig Marlon Weston has travelled through both rainforest nature reserves and industrially developed areas to document and collect visual samples of how human activity has inflicted changes upon the natural landscape.

Working with cameraless photography Weston makes what is called «lumen prints» by exposing light sensitive analog photographic paper to sunlight. The paper reacts to the light and a shadow imprint is formed as a direct photograph of the subject placed on the paper. The paper also reacts to temperature, humidity, physical touch and chemical contact. To make his prints Weston dips sheets of paper in the river, sticks the paper into the ground or attaches small pieces of paper onto jungle plants.
Using this process to make photographs of the water, soil and plant life Weston collects statistical sets of images that can be used to look for information to interpret and then compare between the different parts of the rainforest landscape.  Together the images visualize statistical material and inspires one to look for similarities and differences without the viewer having to be familiar with scientific terminology and methods of measurement.