Drawing on fieldwork in locations including active volcanos in the Galapagos Archipelago, Sierra Negra presents perspectives on evolution, experiments and mutation.
In Sierra Negra, Paul Rosero Contreras presents a series of installations regarding concepts about habitat, hybrid ecologies and symbiosis. Dragging research from historically distant paths, from the architecture of slavery to aspects of marine life, environmental science, and hydrocarbon derivatives, this exhibition displays a body of work exploring the post-human biological setting.
In his first solo show in Berlin, the artist offers a series of hybrid objects: Amplified natural phenomena shaped as monstrous sculptures stating new possibilities of life after an environmental cataclysm; on land and underwater field recordings, the invisible morphing into the tangible, new organisms in relation to geological activity.
Sierra Negra is composed of four installations under the names:
The origin of pink (part of Los Andes Pavilion) (2015) incorporates recordings of active volcanoes along Los Andes Mountain Range and Galapagos Islands. It focuses in the correlation between seismic activity and the rise of new species; specifically, on the mystery of nature embodied by Isabela Island's Pink Iguana, the only evidence of ancient diversification along the Galapagos land iguana lineage: a living transitional morphology.
Ensayo sobre la ceguera (Rolling and rolling) (2016) is a proposal for an artificial ocean-reef. Based on the recycling of rubber tires recovered from beaches and seas in different countries around the globe, this project discusses marine life and industrial waste within a mutant scheme.
Anticipation to an absence (2014) is an artificially produced living forest made out of the mix of a biodegradable plastic filament and Lion's mane fungi (Hericium erinaceus) growing in agar. This piece references the regions in the Amazon jungle that are disappearing because of oil extraction. In order to produce this hybrid object, a Biological 3D Printer has been developed by the artist.
Home, no home (2012) a synthesis of research on the relation between human, habitat and injustice. The work focuses on life and architecture built by Europe’s and America’s slaves trough a scaled version of a typical 17th century house made of the scrapings of buildings related to slavery in Bordeaux, France, the third most active European port at that time.
Paul Rosero Contreras (b. Ecuador, 1982) works at the intersetion of scientific data, speculative realism and fictional narratives. His body of work explores topics related to geopolitics, environmental issues and the relationship between humans and living surroundings. Rosero received a Master’s in Cognitive Systems and Interactive Media from Universitat Pompeu Fabra in Barcelona, Spain, as well as a MFA in Art and Technology at the California Institute of the Arts. His previous studies include Philosophy, Literature and Technologies of Communication. His cross-disciplinary interests involve photography, experimental sound material development and audiovisual performance. His work has been displayed worldwide as part of the Moscow Biennale for Young Art, Russia, Musee Quai Branly, Paris – France, Instituto Cervantes, Roma – Italy, Museo de Historia, Zaragoza – Spain, Galeria Virgilio, Sao Paulo – Brazil, Cuenca Biennale, Ecuador, 1st Antarctic Biennale, SIGGRAPH 17 Los Angeles, among other venues.
Curated by Anja Henckel & Nadim Samman