The artistic practice of Robert Zhao Renhui involves exploring these in-between spaces called secondary forests, thresholds between old-growth or primary forest and developed areas. Hundreds of hours of film and close to a decade of research have culminated in Seeing Forest.
Cabinet Magazine:
The history of animals in the legal system sketched by Evans is rich and resonant; it provokes profound questions about the evolution of jurisprudential procedure, social and religious organization and notions of culpability and punishment, and fundamental philosophical questions regarding the place of man within the natural order. In Evans’s narrative, all creatures great and small have their moment before the bench. Grasshoppers and mice; flies and caterpillars; roosters, weevils, sheep, horses, turtle doves each takes its turn in the dock, in many cases represented by counsel; each meets a fate in accordance with precedent, delivered by a duly appointed official.
Anna Novakov and T. Novakov
like a yellow silken scarf, the thick fog hangs along the quay[1]
In the 1880s, London’s frequent and well-documented episodes of fog were a phenomenon unique to England’s most densely populated, diverse, and industrialized urban center. The spectacular nature of the embankment fog, often described by eyewitnesses as changeable and even colorful, caught the imagination of many artists and writers who saw in these atmospheric manifestations a symbol of modernity and the role of industrialization on an evolving urban space. While the illusive city, shrouded in winter fog, created the perfect backdrop for mysterious, criminal activity, it also proved to be a compelling inspiration for those who read the fog as a more positive symbol of London’s cosmopolitan status. In this essay, we seek to interrelate some artistic and literary references to the fog with contemporary explanations addressing the causes of this atmospheric phenomenon. Through this inte