![]() ![]() None of these features are present in a real rhinoceros, although the Indian rhinoceros does have deep folds in its skin that can look like armor from a distance.ĭürer's woodcut became very popular in Europe and was copied many times in the following three centuries. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. He depicts an animal with hard plates that cover its body like sheets of armor, with a gorget at the throat, a solid-looking breastplate, and what appear to be rivets along the seams. This impression, National Gallery of Art, Washingtonĭürer's woodcut is not an accurate representation. They create “art-science-fictions” as a fluid exchange between scientific and artistic approaches that respond to changes in our lived realities, which are marked by environmental and social transformations.Quick facts: The Rhinoceros, Artist, Year, Type, Dimension. The biennial therefore proposes a crossover of art, science and fictions as new ways to look at things, underlining the vitality of their entanglement in the fabric of life and reality. My Rhino is not a Myth reclaims this power to resist forms of conformity, and instead relies on the imaginative abilities of science and art to create breaches into accepted truths, and address processes unaccounted for. A response to the rise of authoritarian regimes and complicity, the original story envisions the inhabitants of a small, provincial village gradually turning into rhinoceroses, while constantly denying the undergoing mysterious process. The title of the biennial ties a connection to the play Rhinocéros, written in 1959 by the Romanian-French author Eugène Ionesco. Therefore, it tells a complex story of entangled places, manners of knowledge-making and a society in a profound process of change. ![]() Its voyage around the world also mapped a geopolitical trajectory in all its haunting history of violence. But Ganda was also a breathing being, one of the living artefacts serving as accessories of power. ![]() With the Rhinocerus, the power of the imaginative reflects on both the artistic and scientific realm on forms of collaborations that haven’t yet been systemized and divided in what modernity will frame as The Two Cultures: sciences and humanities. Dürer’s imaginative woodcut became one of the most influential animal images, finding its way into scientific publications up until the 18th century and continuing to be incorporated into numerous artistic imageries long after. ![]() But Ganda, as its Gujarati name was, reached Pope Leo X only as a taxidermic relic. It was a response to a strange encounter, the first rhino traveling to the European continent since antiquity. Unfolding as many narrative threads, the biennial draws inspiration from a remarkable example of artistic and scientific imagination: Albrecht Dürer’s renowned work Rhinocerus, created in 1515 without the artist ever seeing the depicted animal. In between scientific explorations and imaginative speculation, it touches upon stories of the unknown and the drive to change, adapt or subvert. The 5th edition of the Art Encounters Biennial My Rhino is not a Myth focuses on the intersection between art, science and fictions, by exploring their potential to reclaim reality as a mesh of complex processes. Albrecht Dürer, Rhinocerus, 1515, woodcut.Ĭourtesy: Collection of Prints and Drawings, ETH Zürich ![]()
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