19/03/2025
Performative and exploratory, "Turning to Stone" relies on assemblage as an artistic and philosophical approach. Featuring two new installations and an epilogue, Richard Ibghy and Marilou Lemmens’s exhibition—their first solo presentation in South America—immerses us in a multisensorial field where we can consider contested notions of energy “transition” and sustainability anew. Inflecting criticality with humor, “Turning to Stone” also contextualizes the financialization of the climate and biodiversity crises in relation to the sweeping shift in valuation spearheaded by the ascendant economics of “natural capital.”
The multi-channel installation "An Animated Assembly" layers animation and “documentary” footage, inviting us to consider the relationship between energy decarbonization, sacrifice zones, and green energy economy. A polyphonic gathering, the installation hosts entities with varying roles and stakes in the greening of transportation. We encounter characters rendered in low-tech animations—North American hybrid car owners, a Canadian elected official, the Argentina-based CEO of an international mining company, a garita, a vicuña, and water—who take turns onscreen.
The installation "Tales from the Subterranean" stages 200 small, colorful assemblages and their handwritten titles on a monumental base. Model-like, the abstract, handmade sculptures are materializations of the 2D graphs, charts, maps, and schemes developed to represent ascendant modes of natural-resource valuation. These are the legitimacy-granting tales through which contemporary scientists, policy advisors, and economists float prospective modes of natural-resource valuation, naturalize them, and script our unfolding futures for capture.
"Natural Capital Matrix," the exhibition’s epilogue, is a vectorial, fungible work that manifests as a lead on paper drawing. It offers up a cartesian grid of “fuckness” representing the world along economic-ecological axes. This is the lose-lose scenario (encapsulated by the repeated use of the expletive) that power wants us to accept. But there is much space around the grid, undrawn or perhaps awaiting those who can read invisible ink.
Where? Iguazú 451, C1437ETE, Buenos Aires, Argentina
Performative and exploratory, "Turning to Stone" relies on assemblage as an artistic and philosophical approach. Featuring two new installations and an epilogue, Richard Ibghy and Marilou Lemmens’s exhibition—their first solo presentation in South America—immerses us in a multisensorial field where we can consider contested notions of energy “transition” and sustainability anew. Inflecting criticality with humor, “Turning to Stone” also contextualizes the financialization of the climate and biodiversity crises in relation to the sweeping shift in valuation spearheaded by the ascendant economics of “natural capital.”
The multi-channel installation "An Animated Assembly" layers animation and “documentary” footage, inviting us to consider the relationship between energy decarbonization, sacrifice zones, and green energy economy. A polyphonic gathering, the installation hosts entities with varying roles and stakes in the greening of transportation. We encounter characters rendered in low-tech animations—North American hybrid car owners, a Canadian elected official, the Argentina-based CEO of an international mining company, a garita, a vicuña, and water—who take turns onscreen.
The installation "Tales from the Subterranean" stages 200 small, colorful assemblages and their handwritten titles on a monumental base. Model-like, the abstract, handmade sculptures are materializations of the 2D graphs, charts, maps, and schemes developed to represent ascendant modes of natural-resource valuation. These are the legitimacy-granting tales through which contemporary scientists, policy advisors, and economists float prospective modes of natural-resource valuation, naturalize them, and script our unfolding futures for capture.
"Natural Capital Matrix," the exhibition’s epilogue, is a vectorial, fungible work that manifests as a lead on paper drawing. It offers up a cartesian grid of “fuckness” representing the world along economic-ecological axes. This is the lose-lose scenario (encapsulated by the repeated use of the expletive) that power wants us to accept. But there is much space around the grid, undrawn or perhaps awaiting those who can read invisible ink.
Where? Iguazú 451, C1437ETE, Buenos Aires, Argentina
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