Exposition

Evolutionary Gardens and Performative Habitats (2021)

Egle Oddo

About this exposition

My interest for plant seeds dates back to my early experiments during the '80, when I collected seeds in urban and rural contexts and translocated them in new habitats. Since then my work has taken different directions. At present I create public art works by installing living sculptures which I denominate as evolutionary gardens. The process behind this practice went through a long transformation recently enriched by the contribution of art curators with whom I engage in long term dialogue. This article explores the process of research between 2007-2017, it describes how I become reflective about my viewing and doing, how I progressively opened the work to multiple influences, and how this has generated a better integrative approach leaning towards the complexity of cognitive structures. Finally I asked a set of questions to the curators who worked with me, with the aim to offer the reader a direct view on the diverse approaches intertwined with my practice.
typeresearch exposition
keywordsseeds, vegetal, conservation, commons, relational, biodiversity, publicart, artproduction, transdisciplinary, evolutionarygardens, performativehabitats
date09/02/2020
published21/05/2021
last modified21/05/2021
statuspublished
share statusprivate
affiliationFramework agreement with STEBICEF and Department of Biodiversity and Environmental Biology of Palermo University (Professor Anna Scialabba); framework agreement with CBBC Center of Biotechnology of Borj Cedrja (Prof. Karim Ben Hamed).
copyrightEgle Oddo
licenseAll rights reserved
languageEnglish
urlhttps://www.researchcatalogue.net/view/792130/792131
doihttps://doi.org/10.22501/ruu.792130
published inRUUKKU - Studies in Artistic Research
portal issue16. Working with Vegetal
external linkhttps://artfacts.net/artist/egle-oddo/191241


Simple Media

id name copyright license
792141 Egle_selfportrait_1 Juha Huuskonen and Egle Oddo CC BY
792145 27092020 Antti Ahonen and Egle Oddo All rights reserved
792147 EgleOddo_ArkOfSeeds_2 Egle Oddo and Nastia Eliseeva All rights reserved
792148 Transitory_Space_2014_2015 Egle Oddo All rights reserved
792149 27092020 Antti Ahonen and Egle Oddo All rights reserved
792151 EgleOddo_ArkOfSeeds_2 Egle Oddo and Nastia Eliseeva All rights reserved
827094 Egle_feeding_Utricularia_australis_in Suomenlinna Egle Oddo and Antti Ahonen All rights reserved
827272 Scketchbook_Egle_Oddo Egle Oddo All rights reserved
834713 Metallurgy expert Martti Halonen at work. Egle Oddo All rights reserved
834721 Rendering sculpture outdoors Egle Oddo, Nastia Eliseeva All rights reserved
834727 Seeds collection of the artist Egle Oddo All rights reserved
834732 Numbers Are Egle Oddo, Timo Tuhkanen All rights reserved
834898 The Word for Freedom Egle Oddo, Timo Tuhkanen, Outi Pulkkinen, Juho Laitinen, Iika Hartikainen, Riina Tikkanen, Riikka Pentinsaari, Pinja Shönberg. CC BY-SA
834916 Marika Krook sharing seeds with the audience during the performance. Egle Oddo, Antti Ahonen All rights reserved
834917 Aerial acrobats Pinja Shönberg and Riikka Pentinsaari dancing during the performance. Egle Oddo, Antti Ahonen All rights reserved
834918 Singer Outi Pulkkinen performing vocal virtuosism. Egle Oddo, Antti Ahonen All rights reserved
834919 Cellist Juho Laitinen playing the giant vertical string instrument crafted by composer Timo Tuhkanen. Egle Oddo, Antti Ahonen All rights reserved
834920 Composer Timo Tuhkanen Egle Oddo, Antti ahonen All rights reserved
834921 Metamorfoosi actresses Iika Hartikainen and Riina Tikkanen performing. They wear the garments created by fashion designer Suvi Hänninen and the masks crafted by Laura Mäkelä.d Egle Oddo, Antti Ahonen All rights reserved
835531 Aerial acrobats Pinja Shönberg and Riikka Pentinsaari performing. Egle Oddo, Antti ahonen All rights reserved
835535 Rendering of the public monument Egle Oddo, Nastia Eliseeva All rights reserved
835538 Render of monument with arch Egle Oddo, Nastia Eliseeva All rights reserved
835539 Detail of bronze flower opening the seeds container Egle Oddo, Nastia Eliseeva All rights reserved
835548 The Seeds of Future, public discussion about TTIP Egle Oddo, Antti Ahonen All rights reserved
835573 Artist studio during the building of the prototype Egle Oddo, Timo Tuhkanen All rights reserved
835574 Artist studio during the building of the prototype Egle Oddo All rights reserved
835578 Detail of the prototype, recording the voice of the music instrument Egle Oddo, Antti Ahonen All rights reserved
835625 Seeds of Future Egle Oddo, Korppiradio, Kalle Kuisma All rights reserved
840576 Shape on the land, winter 2017, Malmö Egle Oddo All rights reserved
840577 Working the land, winter 2017, Malmö Egle Oddo, Gunnel Pettersson All rights reserved
840578 Spring time 2017, Malmö Egle Oddo All rights reserved
840579 June 2017, Malmö Egle Oddo All rights reserved
840580 chef de cuisine Lorenzo Eleuteri visiting the installation Egle Oddo, Antti Ahonen All rights reserved
840581 Edible sculpture Egle Oddo, Antti Ahonen, Lorenzo Eleuteri All rights reserved
840582 Food offer, towards the autumn Egle Oddo, Antti Ahonen All rights reserved
840652 Leafs Egle Oddo All rights reserved
840654 Food offer Egle Oddo, Anti Ahonen All rights reserved
840661 leaf Egle Oddo All rights reserved
840664 Leaf Egle Oddo All rights reserved
840667 Leaf Egle Oddo All rights reserved
840690 Mediterranean Basin Egle Oddo All rights reserved
840693 Mediterranaean Basin Egle Oddo All rights reserved
840696 Mediterranean Basin Egle Oddo All rights reserved
840699 Microscope cinema Egle Oddo All rights reserved
841035 Microscope cinema Egle Oddo All rights reserved
841093 Leaves Egle Oddo All rights reserved
841113 Leaving Egle Oddo All rights reserved
841115 Sunlight Egle Oddo All rights reserved
841117 Gibellina Egle Oddo All rights reserved
841120 Landscape Egle Oddo All rights reserved
841121 Studio Egle Oddo All rights reserved
841122 Studio 1 Egle Oddo All rights reserved
841123 Studio 2 Egle Oddo All rights reserved
841128 Studio 3 Egle Odo All rights reserved
841138 Mediterranean lush Egle Oddo All rights reserved
841172 Humming Egle Oddo All rights reserved
841181 Mediterranean dry salty land Egle Oddo All rights reserved
841183 Mediteranean archipelago Egle Oddo All rights reserved
841184 Detail dry land seeds Egle Oddo All rights reserved
841185 The island Egle Oddo All rights reserved
841198 Insects Egle Oddo All rights reserved
841199 Insects Egle Oddo All rights reserved
841208 Tree Egle Oddo All rights reserved
841218 Sophia Warsh's A Map of Edible Plants at Ark of Seeds artwork, plants consociations Sophia Warsh, Egle Oddo All rights reserved
857897 Seeds collection Egle Oddo and Antti Ahonen All rights reserved
857908 Listening the sculpture Egle Oddo and Antti Ahonen All rights reserved
857945 Boys playing in the forest, 2009 Egle Oddo All rights reserved
857973 The Land Singing installation Egle Oddo and Anastasia Artemeva All rights reserved

RUUKKU portal comments: 1
nimetön/anonym/anonymous 24/05/2021 at 09:57

This is an edited version of the peer review comment, which the author has used as an aid when finalising their exposition:

 

The exposition fits the theme of the issue well and responds to the questions raised in the call for proposals. This critical enquiry grows out of and provides a focused analysis of a long-term experimental artistic practice committed to the conservation and distribution of plant seeds in response to the urgency of accelerating biodiversity loss. The exposition is not explicitly positioned in relation to the wider “vegetal turn” in the arts, yet it offers a singular perspective into the related problematics.

 

The exposition presents a focused analysis of the long-term development of an artistic enquiry with a deepening engagement with plant seeds and biodiversity. It narrates engagingly and identifies in a clear argument the different moments of artistic experimentation in differing contexts that have redirected and further critically situated the evolving practice with cultivation - from sculptural form to performative community engagement and/or community building with seeds. The discussion of context-/site-specificity of performative and collective actions, and the potentiality of art as an active participant in or even as a driver of change, are very timely and interestingly contextualized in relation to the artistic practice in question, while its argument resonates with acutely felt concerns in the field of art and ecology.

 

The exposition is certainly of interest as artistic research: it maps out a clearly articulated and analyzed practice-based research trajectory and its development through a number of experiments and outcomes. It does not reflect solely on the artistic works and the different forms the enquiry has taken in diverse settings - or habitats - but also brings into the analysis the wider socio-political context and its impact on the practice. It poses well formulated and precise research questions as well as presents the practice-based research methodologies and their development in close examination of the artistic outcomes. However, towards the end of the exposition, the focus and clarity of the author’s own voice gives way for the lengthy interviews with curators, which could have been more clearly positioned in relation to the main research argument developed in the article.

 

The exposition will be of interest for the wider interdisciplinary field of art and ecology, and for research into socio-environmentally engaged art and activist practices.

 

The exposition poses clear research questions and presents an in-depth discussion of a practice-based research trajectory, while critically reflecting on the methodologies and their evolution in the cases of the artistic works in question. This discussion is contextualized in a wider socio-political framework and, notably, the specific contexts of each case of artistic activity. It is also grounded in theoretical discourses, yet in places it would strengthen the argument to replace or supplement the references to Wikipedia with also other sources. The exposition sheds light into a very interesting, singular artistic practice, which is critically situated and research-based, while drawing together insights and knowledge arising out of this long-term enquiry.

 

The research argument loses, however, its focus towards the end of the exposition, where the interviews with curators call for further editing and reflection, in order to tie them into the main argument of the proposition: why these curators, how are their views supporting the research here, what aspects of their responses are of particular importance to the core questions of the exposition, etc? A conclusion following this section would furthermore help to clarify the key aspects and findings of the argument.

 

The design and navigation are clear and support the proposition. The captions/descriptions for the images could be clearer, especially towards the end of the exposition. On the last page, alongside the curators’ interviews, it is unclear which art works the images refer to, why they have been placed on the chosen sites, how are they related to the text, etc. Here it would be important to give some context to the images and their positioning. /--/

 

In order to strengthen the argument further, the last section of the exposition could be edited more tightly and the interview findings analyzed so as to tie them more fluently to the main argument. Another part of the text that stood out was the lengthy quotation from an earlier interview with the artist/author. This could be slightly rewritten so that it follows the rest of the format and the flow of the argument, while adding a footnote to the original interview it references. A couple of details that do not fully support the argument now: There is a brief reference to educational turn that seems out of place and calls for further discussion - why reference this particular “turn”, how is it relevant to the practice in question and the main argument here, what are the sources used, etc? Why not rather position the practice in relation to other discourses such as on so-called “social turn” or “ecological turn”, or on socially engaged and environmental art practices? Another place where further referencing of sources would strengthen the argument concerns non-human legal persons and consideration of legal cases, where e.g., rivers have gained this status recently. /--/

 

The exposition presents numerous extremely interesting and important findings, questions and insights arising out of the research-based artistic practice discussed. There is also a lot of scope for exploring some of these further, here or in the future: for example, the notion of performative habitat calls for further exploration on the conditions that nurture this development of collective performance, or how art plays actively part in social change, while itself also transforming in the process in response to the social and ecological urgencies.

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