Volume 11
Viable materials for investigative art practices
Volume editors: Gabriel Gee, Clarice Zdanski and Anne-Laure Franchette.
Growing concerns and reflections regarding the sustainable or unsustainable nature of materials used in the arts can be traced back to the 1960s and 1970s, in parallel to the rise of ecological awareness and activism throughout the world. In the early decades of the twenty-first century, artistic approaches questioning material components have surged, echoing our global societies’ increasing preoccupation with sustainable present and future. Material matters, so much so that recent Anthropocene periodisation have pointed to the damaging relations developed by human modernities with the fabric of the earth, from soil to plants and from sea to air. In this light, artists and designers could be drawn to querying the source of their materials used, be they pigments, metal or textile, together with the transportation channels, the labour networks, needed to deliver these to their studios. Additionally, turn to investigative methods placing an emphasis on artistic research are encouraging speculative and experimental outputs that put often complex and hybrid materials under a critical lens. Similar considerations affect and are raised by museum and heritage professionals, who face practical questions and challenges when attempting to mould new models informed by sustainable awareness in existing structures.
For this issue of Intervalla Journal n.11, we welcome proposals that can be sent to Prof. Gabriel Gee.
Volume 10
Dystopian visions, alternate temporalities
Volume editors: Gabriel Gee and Johanna Fassl.
Dystopian projections in a range of mediums from film to literature have long accompanied the history of modernity and its conflicted streams of innovation and dissolution. In the early twenty-first century, environmental pressure together with ongoing globalized socio-political confrontations continue to feed dysfunctional and apocalyptic visions of human and non-human societies. In parallel, this increasing preoccupation with the contradictions of the present has led artists to explore alternate temporal locations, hetero-temporalities, from the vast arches of deep time to the micro-furrows of the interstices in the flow of consciousness. Volume 10 of Intervalla brings together a selection of artistic investigations into asymmetrical imagination, uncanny socio-political repurposing, and non-linear temporal invention.