clear

Charles Gaines

The World to Come: Art in the Age of the Anthropocene (group show)
Harn Museum of Art, Gainesville
18 September 2018 - 3 March 2019

The World to Come: Art in the Age of the Anthropocene chronicles an era of rapid, radical and irrevocable ecological change through works of art by more than 45 contemporary international artists. We live in a world of imminent extinctions, runaway climate change and the depletion of biodiversity and resources. Our age has been identified as the Anthropocene, a controversial term used to name a new geological epoch defined by human impact. While geological epochs are known as products of slow change, the Anthropocene has been characterized by speed.  Rising water, surging population and new technologies that compress our breathless sense of space and time. Philosopher Santiago Zabala, echoing Heidegger, warns, “The greatest emergency is the absence of emergency.”

Despite the challenges of disaster and denial, artists in the exhibition respond with resistance, imagination and new ways of seeing and thinking about the world to come. The artists contest mastery of human power over nature while re-visioning the bond of humans to non-human life. In this way, they sustain an openness, wonder and curiosity, keeping optimism in check and nihilism at bay. Organized around overlapping trajectories, the exhibition is structured as a collage of networked ecologies and stories within stories. They include raw material, disaster, consumption, loss, justice and the emergence of new and nonhierarchical alliances in human-non-human relations.

Harn Museum of Art, Gainesville


Additional:

Charles Gaines

Charles Gaines (artist talk)
Whitechapel Gallery, London
18 April 2019, 7pm

The American artist and curator Charles Gaines is in conversation with editor Louis Hartnoll and writer and researcher John Tain to discuss his exhibition The Theater of Refusal: Black Art and Mainstream Criticism.

Opening at the Fine Arts Gallery, University of California, Irvine in 1993, ‘The Theater of Refusal’ foregrounded questions of structural racism by juxtaposing works by African-American artists with their reception in mainstream arts criticism. First proposed by Gaines in 1989 and developed through extended dialogue and debate, this multi-faceted exhibition articulated a theory of counter-marginality.

Whitechapel Gallery, London