Wedged between Russia and China, the nation of Mongolia has long been home to one of the world’s largest nomadic populations, with more than a third of its population pursuing their livelihood on the vast Mongolian-Manchurian steppe. But in recent years, the grassland has been drying up. According to a 2008 government survey, more than 1,200 rivers, 2,600 lakes, and 93,700 springs have disappeared, partly thanks to industrial mining.
Korean photographer Daesung Lee’s remarkable series Futuristic Archaeology explores what the desertification of their home means for Mongolian nomads through a series of fantastically staged images. They feature landscapes-within-landscapes — barren, desert environments inlaid with decidedly greener ones. These incredible scenes aren’t digitally orchestrated: Lee actually printed out billboard-sized photographs and strung them up on site, using former nomads as models. Inside the smaller images, people ride horses, herd goats, and go about their lives fenced in by red rope barriers.
The photographer told Hyperallergic that his approach was inspired by the lifeless anthropological dioramas you often see in natural history museums. He has often been struck by the paradox that the lost cultures they display are “preserved dead like fossils” by the very governments that destroyed them. Though he has previously documented climate change through his work as a photojournalist, he said that this time he wanted to actually deliver a message instead of simply describing the issue. And here, that message is strikingly clear: if we don’t start acting like climate change matters, Mongolia’s nomadic culture might one day end up behind glass.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
A coalition of investors raised funds to purchase the film’s storyboard and announced they would “make the book public.”
A new project, “Emoji to Scale,” orders every mini-object by their real-world dimensions.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.