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2023

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2023

2023

The Pond is a multimedia installation that seeks to reimagine and provide an alternate version to the diorama often seen in natural history museums. Fusing mimicry and speculative fiction, the exhibition explores and exposes the various nuanced artificial elements often concealed in the traditional presentation of dioramas, making commentary on the exploitative notions that the diorama unintentionally conveys. Using augmented reality, large scale video projection, multi-screen video, immersive sound, a holographic display, and inkjet prints, The Pond mirrors the complex multi-layered artifice inherent in traditional dioramas in order to create the illusion of a pond ecosystem, populated with hybrid creatures, inviting viewers to explore the intricate interplay between human-made environments and the natural world while challenging our understanding of nature.

Supported by MOMENTA Biennale de l’image and RBC Foundation’s Emerging Artist Grant. The Pond premiered at the 18th edition of MOMENTA Biennale de l’image.

Description from the artist’s website: The Pond [2023] – Bianca Shonee Arroyo

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2021

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2021

2021

This ecosexual wedding performance took place at the Great Salt Lake in 2021, near the iconic land art sculpture Spiral Jetty (1970) by Robert Smithson.The ceremony was graced by the presence of Annie Sprinkle and Beth Stephens who launched the ecosexual movement in art, and was carried out in collaboration with Bonnie Baxter and Jaimi Butler, the scientists from the Great Salt Lake Institute, Westminster College, in Salt Lake City. Joy Brooke Fairfield directed the wedding performance under the difficult circumstances of heat and drought the unique body of GSL water is now experiencing due to climate change.

Through this performance, humans were married to the tiny crustaceans the whole GLS ecosystem depends on. The brine shrimp brides were represented digitally through the Augmented Reality application Artemia designed to visualize these aquatic wildlife critters in contrast to modern science’s goals and consumer imagery of the Sea Monkeys, a commodified instant life-form. The wedding prioritized the representation of the multispecies community and connected ecosexual to hydrofeminism. It emphasized the need for alliances between artists and scientists to make brine shrimp lovable and visible in cyberspace beyond the global brine shrimp farming industry.

https://justynagorowska.com/Cyber-wedding-to-the-brine-shrimp

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