Exhibition:  Anthropocene: Humans and Nature
Sept. 6 - 28, 2019

The current geological epoch is increasingly referred to as the Anthropocene. 

        Nature defined as all life and organisms living on the planet Earth

You cannot help but reflect the Anthropocene...anything you do is part of the epoch because you are nature, you carry it around in your cells.

        Human, you, possibly

Art exploring the earth and nature as affected and interpreted by humans including technology, farming, architecture, and ethnobotany.  Systems and mysteries as related to various fields of study including metal and mineral extraction, plant science, shamanism, invisible and visible communication systems, human designed environments, and carbon based complications. Conceptualizations of objects in contemporary philosophy and art. Peak experience acoustic phenomena related to storytelling and topography. Defunct and abandoned science institutions, mystical meeting places. Documentation of the human soul  and eternity.

Random Resources

World ordering: https://www.nature.com/articles/d41586-019-01641-5

Film Resources: https://emptygallery.com/exhibitions/eg13-momento-stella/

Signe Lidén and Espen Sommer Eide - Vertical Studies: Acoustic Shadows and Boundary Reflections


Directed by Luke Fowler

With Electro-Pythagorus: A Portrait of Martin Bartlett Luke Fowler pays tribute to the work and musical ideas of Martin Bartlett (1939-93) a proudly gay Canadian composer who during the 1970s and 1980s pioneered the use of the ‘microcomputer’. Bartlett is hardly recognised, never mind canonised, in cultural life. He researched intimate relationships with technology and was particularly interested in handmade electronics where, as he states in one of his performances: “the intimacy of handcraftedness softens the technological anonymity creating individual difference making each instrument a topography of uncertainties with which we become acquainted through practice’.


Sound & Film:

Directed by Jake Meginsky & Neil Young
2018, USA, 91 min

Portrait of renowned percussionist Milford Graves, exploring his kaleidoscopic creativity and relentless curiosity. Graves has performed internationally since 1964, both as a soloist and in ensembles with such legends as Albert Ayler, Giuseppi Logan and Sonny Sharrock. He is a founding pioneer of avant-garde jazz, and he remains one of the most influential living figures in the evolution of the form. Graves tells stories of discovery, struggle and survival, ruminates on the essence of ‘swing’ , activates electronic stethoscopes in his basement lab to process the sound of his heart, and travels to Japan where he performs at a school for children with autism, igniting the student body into an ecstatic display of spontaneous collective energy. Oscillating from present to past and weaving intimate glimpses of the artist’s complex cosmology with blistering performances from around the globe, Milford Graves Full Mantis is cinema full of fluidity, polyrhythm and intensity, embodying the essence of Graves’ music itself.



Center for Land Use Interpretation:


By Arie Altena

We have been studying the sky and the stars at least since Sumerian times. Looking up in the sky we look back into time. Our most advanced telescopes detect radiation from the birth of the universe – the birth of time. Beyond that there is nothing to see. We have ventured far into outer space. Voyager 1, dispatched by NASA in 1977, has left our solar system, entered interstellar space, and at a distance of approximately 19 billion kilometres from the Sun, is still transmitting data to Earth. What do we know about the ground below our feet? It is a cliché to state that we know more about the Moon than about the deep sea, but how much do we actually know about what is underground? We know about the composition of the Earth’s crust, mantle and core through remote geophysical methods. Seismic waves travel throughout the Earth, and from the behaviour of those waves we can infer the composition of the material through which they travel. We can ‘listen’ to the Earth to discover what is inside. But how deep have we actually looked into the interior of the Earth? Not very far, it seems. The deepest holes we have ever excavated only penetrate about one-third of the crust. We have never drilled deep enough to reach the mantle on which the continental and oceanic crusts rest. Deep drilling is apparently as complex and adventurous as sending rockets into outer space, and it is likewise a feat of engineering. One problem is that the deeper you drill the hotter it gets. Temperatures easily go up to 200 degrees Celsius. Standard drilling equipment cannot handle such temperatures. One reason we know more about the planets in our solar system and the stars than about the Earth's interior might be because our fascination for what is ‘up there’ is far greater than our interest in what is ‘down below’. Culturally what is ‘down below’ is identified with the dark and sinister: it’s the realm of the devil while ‘up there’ has generally been regarded as the realm of light and God. The charm of the subterranean has its own cultural history – Jules Verne’sJourney to the Centre of the Earth, Ludvig Holberg's Niels Klim's Underground Travels, and stories about mining by the German Romantics are well known examples. Yet, the subterranean imagination does not match the allure of what is up and out there. The deepest natural cave that humans have descended into is the Krubera Cave in the Caucasus: 2197 metres underground. The deepest gold mines are now operating at depths over 3 kilometres, with the South African TauTona goldmine reaching 3900 metres. When we dig deep, it is usually for money: to extract from the Earth valuable minerals, oil and gas. We use these crushed dinosaurs and prehistoric plants to fuel our economy and lives. Fittingly for the current state of our world, the deepest boreholes are drilled for oil and gas. The current record, set in June 2013, is the Z-42 borehole on Sakhalin Island off the East Russian coast, which has a depth of 12,700 metres (source).

Timothy Morton books include Hyperobjects: Philosophy and Ecology After the End of the World; Realist Magic: Objects, Ontology, Causality; The Ecological Thought; and Ecology Without Nature, and he has published more than 150 essays on ecology, philosophy, art, literature, music, architecture, and food. He has collaborated with several artists, including Björk, Olafur Eliasson, and Haim Steinbach, and blogs regularly at


For more information about the commissions and regular programme updates
visit www.darkecology.net. 

Participation: The museum invites artists to present talks, films, fieldtrips inconjunction with the exhibition.  Suggested fieldtrip: Artists in the exhibition explore why objects, landscapes at the border matter ethically, politically and aesthetically. Artists and scholars are invited to engage with the contemporary realities of the region, using the agency of things as its lens for analysis.

Possible activities: walking trek to investigate the acoustic phenomena in relation to the topography of the area while relating sounds to the local history. 

Why this exhibition?

This exhibition invites visitors to think about their current relationship with the planet. This hopefully opens up global environmental ways of thinking, opening up new modes of action at a time when human beings make up the largest single force for change on the Earth. Analysis of the Anthropocene era can lead to a material turn of public opinion as to how societies and individuals can thoughtfully interact with nature and the planet. The exhibition space invites the audience to enter into a dialogue on the Anthropocene and the planet.