Artist as ecosystem curator – Mark Dion. (external research)
These are photos of Mark Dion’s Neukom Vivarium (2006), located in Seattle, Washington. It’s a sculpture, an educational piece, an archive, a piece of horticulture, and a curated ecosystem. As described by Giovanni Aloi, in this work, ‘Decomposition and regeneration are intertwined and interdependent’. The sculpture consists of the state tree of Washington – a western Hemlock – which fell naturally in 1996. In 2006, Dion gave the dead tree a new life by placing all of its 60 ft inside an 80 ft public glasshouse. The dead tree would become a learning opportunity for visitors, as one is given the chance to view nature’s processes beyond an anthropocenic context. This is highlighted by the fact that historically decay in a greenhouse would have been shunned and sanitised. However this piece takes pride in the decay through actively curating it and shedding light on the life that grows from it. Lichen, fungi, plants and insects have all naturally found a home in this dead tree. The public are invited to observe the curated ecosystem, with books, magnifying glasses and hand painted identification keys displayed around the glass house. As Dion transforms from artist to researcher to curator, the audience becomes a discoverer. The environmental conditions of the glasshouse are regulated, with light, shade and heating being adjusted through various features of its architecture and design. However nature here is presented as self-sufficient and able to exist without humans, as it grows with its own agenda. Dion does not sanitize nature, instead he curates an ecosystem with his role as an artist platforming the intricacies of decay.
1 replies to “Artist as ecosystem curator – Mark Dion. (external research)”
Leave a reply to alewisj
Your initial blog post is engaging and thought-provoking, blending personal reflection with critical analysis. The conversational tone makes it accessible while maintaining depth, and the strong introduction quickly draws the reader in. The examination of Le Va’s work and the curator’s role is thorough and insightful. The inclusion of quotes enhances credibility and depth, while the concluding questions encourage further reflection. To improve the post, your ideas could be expanded for clarity, particularly in the transition between personal reflection and theoretical discussion. Strengthening the conclusion with a clearer takeaway would enhance the impact.
Your second post presents a compelling analysis of Mark Dion’s Neukom Vivarium, effectively combining descriptive detail with critical insight. The exploration of decay, curation, and the evolving role of the artist is particularly engaging. The writing is clear and well-structured, effectively guiding the reader through the significance of the work. The inclusion of images illustrates specific details, but I encourage you to consider your blog’s layout and aesthetics to reflect your unique writing style. You could enhance the conclusion by emphasising the broader implications of Dion’s work. Additionally, some sentences could be shortened for clarity.
Your third post offers a strong starting point and an insightful exploration of speculative curation, effectively intertwining personal reflection, historical context, and theoretical references. The links between memory, landscape, and the emotional Anthropocene are particularly promising. The writing is rich with well-researched examples, effectively integrating references to artists and theorists. I would encourage you to include more images as well as hyperlinks to illustrate the artist, exhibitions or theories you are mentioning. This would help the reader make clearer associations, which would result in a clearer expression of the core curatorial vision.
The idea of curating an exhibition on Irish artists and the emotional Anthropocene is realistic and achievable. However, where do you intend to hold this exhibition? What type of exhibition would it be, and which artists are you considering including?