A recent exhibition titled "Fungi: Anarchist Designers" plunges viewers into a world of eerie fascination, where nature is portrayed as an unyielding force beyond human control. Sylvia Plath's poem Mushrooms, first published in 1959, serves as a foreboding introduction to the unforgiving realm of fungi, which have been thriving on Earth for over a billion years.
These mysterious organisms outmaneuver human attempts at domination and conformity. They thrive on discarded, dead, and dying things, fueling an endless cycle of decay and regrowth. Coprophilic, necrophilic, and silent assassins, fungi are legion, exerting their influence on every corner of our existence.
The exhibition, curated by Anna Lowenhaupt Tsing and Feifei Zhou, delves into the fascinating yet unsettling world of fungal design, highlighting how these organisms defy human command. A timelapse film featuring a basket stinkhorn's transformation from fleshy phallus to umbrella-like structure illustrates their unyielding persistence.
As curator Anna Lowenhaupt Tsing puts it, "Fungi refuse the commands of human masters and abide by human standards of propriety." They adapt to humanity's worst habits, turning industrial trade into ecological disasters and rendering vast fields vulnerable to disease. Fungal infections have claimed lives in hospitals and beyond, including those resistant to multiple drugs.
The exhibition also features a striking installation showcasing historic architectural drawings marred by fungal discoloration, as well as "mycelial sculptures" by Japanese artist Hajime Imamura. Lizan Freijsen's tufted floor objects appear as patches of dry rot, while Michael Poulsen's model of a termite mound highlights the symbiotic relationship between fungi and termites.
A film exploring the mysterious bond between matsutake mushrooms and Japanese pine forests serves as a poignant reminder of the intricate relationships within ecosystems. The "architecture must rot" installation reveals how materials are broken down by fungal growth, challenging our perceptions of architecture's permanence.
Ultimately, the exhibition concludes on a hopeful note, urging viewers to rethink their interactions with the more-than-human world and envision futures shaped by cooperation rather than domination. As we delve into this eerie yet captivating realm, it becomes clear that humanity is indeed at risk: "Our foot's in the door."
These mysterious organisms outmaneuver human attempts at domination and conformity. They thrive on discarded, dead, and dying things, fueling an endless cycle of decay and regrowth. Coprophilic, necrophilic, and silent assassins, fungi are legion, exerting their influence on every corner of our existence.
The exhibition, curated by Anna Lowenhaupt Tsing and Feifei Zhou, delves into the fascinating yet unsettling world of fungal design, highlighting how these organisms defy human command. A timelapse film featuring a basket stinkhorn's transformation from fleshy phallus to umbrella-like structure illustrates their unyielding persistence.
As curator Anna Lowenhaupt Tsing puts it, "Fungi refuse the commands of human masters and abide by human standards of propriety." They adapt to humanity's worst habits, turning industrial trade into ecological disasters and rendering vast fields vulnerable to disease. Fungal infections have claimed lives in hospitals and beyond, including those resistant to multiple drugs.
The exhibition also features a striking installation showcasing historic architectural drawings marred by fungal discoloration, as well as "mycelial sculptures" by Japanese artist Hajime Imamura. Lizan Freijsen's tufted floor objects appear as patches of dry rot, while Michael Poulsen's model of a termite mound highlights the symbiotic relationship between fungi and termites.
A film exploring the mysterious bond between matsutake mushrooms and Japanese pine forests serves as a poignant reminder of the intricate relationships within ecosystems. The "architecture must rot" installation reveals how materials are broken down by fungal growth, challenging our perceptions of architecture's permanence.
Ultimately, the exhibition concludes on a hopeful note, urging viewers to rethink their interactions with the more-than-human world and envision futures shaped by cooperation rather than domination. As we delve into this eerie yet captivating realm, it becomes clear that humanity is indeed at risk: "Our foot's in the door."