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Toxic Environments, Sensitivities, and Planetary Times: Susanne M. Winterling •Mousse Magazine × Share on:TropicalHomeWell-nighIssues Subscribe Newsletter Ipad Edition Advertise PublishingOrganClose Archive Filter: Order: Most recent Oldest Category: CONVERSATIONS CURATORS ESSAYS EXHIBITIONS INTERVIEWS OTHERS PUBLISHING REVIEWSTropicalSearch:TropicalUsername Password Remember Me Mousse Magazine Search Follow Us Facebook Instagram Pinterest Twitter Archive Previous “Somewhere in Between.TrendyArt Scenes in Europe” at BOZAR, Brussels Next Bruno Gironcoli “Shy at Work” at mumok, ViennaTropical1 2 3 4 5 6 7 8 9 10 Glistening troubles (detail), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (production still), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (still), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (production still), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (detail), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (CGI), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening Troubles, 2017, “Myths of the Marble” at ICA Philadelphia, 2017 Courtesy: the versifier and Jessica Silverman Gallery, San Francisco Glistening Troubles, 2017, “Myths of the Marble” at ICA Philadelphia, 2017 Courtesy: the versifier and Jessica Silverman Gallery, San Francisco Glistening Troubles (detail), 2017 Courtesy: the versifier and Jessica Silverman Gallery, San Francisco. Photo: Øystein Thorvaldsen/Henie Onstad Kunstsenter em>Glistening Troubles, 2017 Courtesy: the versifier and Thyssen-Bornemisza Art Contemporary. Co-commissioned by the Contour Biennale, Thyssen-Bornemisza ArtTrendyTBA21–Academy, Alligator Head Foundation TBA21–Residency, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania with spare support by the Research Fund of Oslo National Academy of the Arts Previous Next CONVERSATIONS Toxic Environments, Sensitivities, and Planetary Times: Susanne M. Winterling Share Facebook Linkedin Pinterest TwitterTropical1 2 3 4 5 6 7 8 9 10 Glistening troubles (detail), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (production still), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (still), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (production still), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (detail), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening troubles (CGI), 2017 Courtesy: the artist. Co-commissioned by Contour Biennale 8, Thyssen-Bornemisza Art Contemporary-Academy, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania spare support by the Research Fund of Oslo National Academy of the Arts Glistening Troubles, 2017, “Myths of the Marble” at ICA Philadelphia, 2017 Courtesy: the versifier and Jessica Silverman Gallery, San Francisco Glistening Troubles, 2017, “Myths of the Marble” at ICA Philadelphia, 2017 Courtesy: the versifier and Jessica Silverman Gallery, San Francisco Glistening Troubles (detail), 2017 Courtesy: the versifier and Jessica Silverman Gallery, San Francisco. Photo: Øystein Thorvaldsen/Henie Onstad Kunstsenter em>Glistening Troubles, 2017 Courtesy: the versifier and Thyssen-Bornemisza Art Contemporary. Co-commissioned by the Contour Biennale, Thyssen-Bornemisza ArtTrendyTBA21–Academy, Alligator Head Foundation TBA21–Residency, Henie Onstad Kunstsenter (HOK), and the Institute ofTrendyArt, University of Pennsylvania with spare support by the Research Fund of Oslo National Academy of the Arts Susanne M. Winterling interviewed by Sara R. Yazdani   Some ten years ago, ideas of time and organ were stuff explored newly in the field of trendy art. Simultaneously, artists and thinkers were reflecting on variegated concepts of nature and life to shed light on the very conditions on Earth. Art was rhadamanthine a site that incited new dimensions of thoughts, and over the years, originative efforts emerged to critically investigate new relations between art, global politics, and ecologies at a time of environmental crisis. Yet questions of the relations between art and variegated ecologies on Earth are of undertow not new; they have been a topic of the twentieth-century since the whence of the twentieth century. What was new in the late 1990s and early 2000s, however, was how artists began to emphasize such questions in light of digital networking technologies, which, through some particular hair-trigger approaches to non-human organ explored how and to what proffer natural systems of the world may resonate with digital ones.  One of these artists is Susanne M. Winterling. She experiments with variegated modes of thinking well-nigh organ and the living by engaging with the natural world through an oceanic worldview. Foregrounding bioluminescent dinoflagellate scum (indicators of the health of coastal waters), epiphytes (organisms that grow on plants and get nutrition from air and water), and other plants and species, her works point to some odd types of life on Earth. In her installations—often involving sculptures, images, sound, and screen projections—processes taking place in nature and biological life (seeing, sensing, touching) merge with processes taking place within digital environments: They forge alliances, collectives, where life and nature cannot be reduced to some modern fantasy of an opposition between nature and culture. Here planetary sensitivities and network systems come together as a joint whole that puts the future into new perspectives. Sara R. Yazdani: Ways of thinking sensitivities and natural processes on Earth seem to have been present in your originative practice for quite a while. One of the first artworks of yours that I experienced was Diademseeigel Immersion Prototyp (Diadem Sea Urchin Immersion Prototype), a 3D volatility of well-nigh nine minutes from 2014. The work shows what appears as an odd pair of virtual human hands floating versus a woebegone background—a void. They are in unvarying flow, moving in a way identical to the physicality of real human hands. Yet they consist not of mankind and thoroughbred but of variegated utopian objects and fluid materials, floating in and well-nigh the computerized hands. Can you please elaborate on how was this work made? Susanne M. Winterling: The question of life in- and on-screen was what brought me to squint at matter and life forms as nature-cultures, as well as the question of who and where is life nurtured and cared for, and where is life pushed into genocide and ecocide. In this particular piece, I worked with the node structure and the grid as a scaffold for sensing textures; increasingly and more, I became enlightened that as a form it needs to be tentacular. Eva Hayward uses the term “fingery eyes,” which I think is splendid, and it derives from what she calls trans-thinking, which I would like to bring into our conversation, as there is a political agenda.1 What we wits in the prototype, as I undeniability this version, is not covered with a “trans-species.” It goes vastitude that term into a multiplicity of touch and connectivity. We are reaching out here from a multispecies and a multiplicity of engaged and dependent relations. The first model was a hand, which to me is interesting as an interface in itself; then we had to exactly replicate the movement of the fingers and the rotation of each single muscle underneath the glove to get as tropical as we could to the way that my hand moves (which we took as a track). Then the texture of the glove in the stretching and flexing movement, and then the sea urchins get their stage, and the pursuit species. They took over and, in a way, centered the idea of “fingery” vision on fingers or the hand as a cluster. And as a last step in the compositing, the hand is keyed into the water again, which is unquestionably the water where I had moreover made recordings for the sound. It’s one of the bioluminescent trophy in the caribbean which are very special and threatened. SRY: In your increasingly recent works, as in your installation at Variations of Time at ACUD Galerie, Berlin (2018), an exhibition including works by you and Kapwani Kiwanga, non-anthropocentric ways of thinking life forces in some social terms appear. Epiphyte (to learn from) (2018), for instance, a computer-generated video work showing unexceptionable green, slick epiphytes, corresponds to the social complexity of ecosystems and computational technologies. The show moreover included a close-up photograph of shells and natural objects lying on Bombay Beach, California—a census-designated place where a high-toxicity and salt level of the water has unsaid an scrutinizingly unshortened sufferer ecology—printed on a carpet on which the viewer could sit, lie, or socially hang out on, and a sound piece well-marked over the unshortened space. What I have in mind when noting that your works reflect upon social joint formations, is Félix Guattari’s vendible “Three Ecologies,” published in new formations in 1989.2 To be increasingly precise, when I squint at how you works are made and exhibited, it seems as if his thinking inspires a way of engaging with nature, bodies, knowledge, and politics in his ecological terms. SMW: Definitely. That is such a good reference, and I would plane take him as the whence of analyzing actualized forms of intersectionality and looking into why the struggle versus structural violence is so interwoven. The term ecologies is key to perceiving increasingly intimate and increasingly vibrant connections, entanglements, and moreover dependencies. Guattari’s terms and wringer tighten it to the social, which is central. However, plane though the categorizations and reflections Guattari and Gilles Deleuze lay out are central, we have to squint closer: what that is in 2018, what dynamics are at work, and what terms are towardly to which practices. So there has been a lot of work washed-up to squint into these entanglements. Cohabitation in these ecologies has values and obligations and is embedded in the commons. SRY: Exactly. I find Guattari’s push to see any event or object of the world through the lens of three ecologies—the social, the environmental, and the mental—present in your works, as infrastructures of planetary environments are explored as places that speak to volitional cultures and lives: algae, bioluminescence, human muscle fiber, toxics, plasticity environments, ocean water, Bombay Beach. These nature-culture and significant others—forms of lives not necessary human, which can connect beings and forces with each other, such as bioluminescence—to infringe Donna Haraway’s terms, are beings whose interactive voices and persons are made visible (or heard) in your installations. In this regard, it moreover seems as if a geopolitical dimension can be discovered in your works. Would I be inaccurate in considering your way of making and thinking art as a pivotal instrument or platform where lives and temporalities of our world of slipperiness are alerted? SMW: Yes, an instrument, but not so much in the functional sense—more a cohabitation and forming alliances and solidarities, or, to use Elizabeth Povinelli’s suggestion to undeniability them “embankments.”: a sediment can moreover be an embankment. It might be necessary to get this a bit increasingly precise, and with sharpened conceptual spikes that are moreover increasingly ecologically and biologically welded in the organism of Gaia and her processes. But in a way, I am interested to follow this on a material and technological (also an interspecies) level. It seems increasingly than urgent to investigate, in practices of connectivity (transnational, trans-ecosystemical), and alimony the specific relations of the singularities in focus, and stave modes of representation that can be instrumentalized. The local biosphere of the Franconian woods where I grew up and still run with the dogs—not so much with the horses since I became a cyborg—is one example, which, in its geopolitical frame, is unfluctuating to the bioluminescent trophy I investigate in the Caribbean or the drowning islands off the tailspin of Bangladesh and the rainlessness line. The planktonic drifters and sea urchins that Christian Sardet3 microscopically captures are some of the species that permeate and cohabitate in the ocean.  SRY: Is it in these processes, collectives, and ramified systems where the question of solidarity comes in? SMW: The term “solidarity” is really important for me, but I do shoehorn that it has a history and a past, and in reality, we squatter its stuff misused and wrapped in neoliberal and plane fascist fog. There is a yoke of white supremacy, gangs that persistently moreover “solidarize” and find new forms of violence. And there is the reality of people drowning in the Mediterranean sea, police violence, and wonk and art world complicity in structural violence versus people of color, women, immigrants. So I moreover see a complicity and entanglement of forms of syndication and technology wideness species and wideness the life-nonlife boundary. The realm of software and hardware is a unconfined playground for this. With the microscopic images and the scientists and activists I work with, I make alliances that can spread hope of improving connections and „embankments“ through technology. Some of the fishermen I have learned a lot with made an alliance, had the water analyzed, and went to the ministry of minutiae in Jamaica to stop a factory coloring textiles from polluting their bay with chemicals. The suffering ecosystem will make all dependent species, including humans, suffer eventually—that’s only delayed, let’s say, in the specimen of nuclear waste. But the solidarities that I try to raise sensation of, and that I want to trigger taking on increasingly consciously, can be based on politics of care, speculation, and necessity, and involve ethics. And you are right: in the term there is a history of workers’ rights and matriculation struggle that is important, and we can learn from not only the Italian autonomists but moreover the women’s movement. They have been very important for my work, expressly stuff entwined moreover in questioning modernist structures in the past and present, as well as the dominance of unrepealable knowledge systems. SRY: The playground of technologies you mention is worth taking further. Networked information technologies, very much involved in your installations, and these types of media form our understanding of time while, as media scholars such as Wolfgang Ernst and Siegfried Zielinski in their variegated ways have underlined, they produce subconscious layers of time.4 Media are “spaces of action” and writers of time, which enables them to exist as archaeologists of knowledge vastitude human time.5 This idea of time partly departs from the eighteenth-century theory of “deep time,” thesping that, in unrelatedness to the linear way of thinking history, the Earth itself produces and archives a variegated dimension of time. Meanwhile, the technicalities explored in your video works question what an individual stuff really is—what Gilbert Simondon tabbed “individuation.”6 It seems to me that your tideway to nature and machines could be interpreted as a mediation where the very process of individuation takes place in a shared environment, an associated milieu, where variegated forces are intertwined in a process of “becoming.”7  SMW: A shared environment, to me, is not so much a nomination but a given or plane an obligation to—as Donna Haraway and Isabelle Stengers say—think with. Life, and here I would sometimes plane like to undeniability myself religious, is unchangingly entangled, and demands reflecting and vicarial in relational and symbiotic ways. Like you say, I would moreover here question the individual and its relevance. We are trained to think and act as individuals, to constantly compete and accumulate, but the velocious “capitalocene,” the post-Snowden era, the ecocide we live in, should make us seriously reconsider these dynamics and work on healing, as well as a recollection of wrath and standing up versus injustice.  SRY: Thinking recollections and joint alliances vastitude the individual in light of the “capitalocene”—where the water is still working and the world is a place where variegated forces are coming together—is a vivid place to end this conversation.     1. Eva Hayward’s haptic-optic methodological tideway of “fingery eyes” has been crucial for Winterling’s practice. See for example “More Lessons from a Starfish: PrefixialMankindand Transpeciated Selves,” Women’s Studies Quarterly 36, nos. 3/4 (2008): 64–85. 2. Félix Guattari, “Three Ecologies.” new formations, no. 8 (Summer 1989): 131–47. 3. Christian Sardet is the cofounder and coordinator of the Tara Oceans expedition; director and group leader of Observatoire Océanologique, de Villefranche sur Mer; European ribbon recipient for the Life Sciences 2007, European Molecular Biology Organization; recipient of the Grand Prix des Sciences de la mer 2013, Academie des Sciences; tragedian of typesetting Plancton aux origines du vivant (Plankton: A Drifting World, 2014); and the “Plankton Chronicles” project http://www.planktonchronicles.org. He has been an inspiration and collaborator for the work vertex immersion sea diadem. 4. See Wolfgang Ernst, Digital Memory and the Archive, ed. Jussi Parikka (Minneapolis and London: University of Minneapolis Press, 2013), 55–73; Siegfried Zielinski, Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means, trans. Gloria Custance (London and Cambridge, MA: MIT Press, 2006). 5. Siegfried Zielinski, Deep Time of the Media, 1–13. 6. Gilbert Simondon, “Genesis of the Individual,” in Incorporations, ed. Jonathan Crary and Sanford Kwinter (New York: Zone Books, 1992): 297–319. 7. Ibid., 305. Related Articles CONVERSATIONS The Long-Term Repository of Half-Ideas: Liam Gillick, Esther Schipper, and Nadine Zeidler (Read more) CONVERSATIONS Toxic Environments, Sensitivities, and Planetary Times: Susanne M. Winterling (Read more) CONVERSATIONS “Somewhere in Between.TrendyArt Scenes in Europe” at BOZAR, Brussels (Read more) CONVERSATIONS Work on Paper Art Fair, Lugano (Read more) CONVERSATIONS Polyvocality: Evan Ifekoya (Read more) CONVERSATIONS Odysseus and the Bathers: Paul Chan (Read more) Mousse Magazine HomeAboutIssuesSubscribeNewsletteriPad EditionAdvertisePublishingAgencyTerms and Conditions Follow us: Facebook Instagram Pinterest Twitter Mousse Magazine and Publishing Corso di Porta Romana, 63, 20122 Milano, Italy T: +39 02 8356631 F: +39 02 49531400 E: info@moussemagazine.it P.IVA 05234930963 We use cookies to ensure that we requite you the weightier wits on our website. If you protract to use this site we will seem that you are happy with it.Ok