A digital art exhibition in partnership with art activism platform, ReGenesis.

The science of climate change is complex and often confusing. It can feel overwhelming – leading to anxiety, distrust or even a state of paralysis. Sometimes, understandably, it is easier to ignore the truth.

But in order for us to secure our futures on a liveable planet – and experience the decarbonized, resilient, fairer and safer world that’s still within reach – we all must confront reality.

This is where art can step in. The language of art creates new, expanded experiences and possibilities that can transcend norms and constructs traditionally formed by words. It can offer a new way of observing that can touch the heart and make a lasting impact.

This is why art has a critical role to play in helping to communicate the stories of climate change – and in so doing, accelerate the race to a net zero, nature positive and resilient world.

With this in mind, ReGenesis and the UN Climate Champions convened a group of artists, representing a range of disciplines, to open up the conversation on climate and help make it accessible to everyone.

Echoes of the Future consists of eight works and projects that, in unique ways, portray the reality and hope that drives the Climate Champions’ Race to Zero and Race to Resilience campaigns.

While none attempts to cloud the horrors of climate change, each submission explores the possibilities that come with new ways of thinking and innovating – from regenerative agriculture and solar power, to education and community engagement.

Doron Gazit’s ‘Red Line’ brings a stark warning of where we are heading if we do not act with courage and speed. The artists commissioned by Olafur Eliasson’s Little Sun portray hope in their own ways through the five short films in the ‘Fast Forward’ series. Education and community engagement take centre stage in Evelyn Anca’s work. Runa Ray’s ‘Virtual Museum of Fashion’ offers a glimpse of how to use the by-products of climate change for a more sustainable future. Industrial Echoes by Faraj Srour and Neomi Maggeni highlights the plight of marine mammals and Horror Vacui by Matteo Zamagni reflects upon human alienation from nature. In The Last Tree, Engwind’s ‘The Conservation’ series foreshadows a far-from-utopic future with dire consequences if we do not act now and change our lifestyles. And finally, Jon Wreal’s ‘Gondwana Digitata’ uses mystical symbolism as a metaphor for local community challenges due to climate change.

Curatorial Team: Michel Platnic, Veronica Neo, Charlotte Owen-Burge, Michael Lazar.

Explore the works below.

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Little Sun Fast Forward

Fast Forward is a series of short films that explore five artists’ dreams for a regenerative world. Featuring over 300 global voices, the films have been made by artists from Ethiopia, Senegal, and the United States.

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Little Sun

Fast Forward

Fast Forward is a series of short films that explore five artists’ dreams for a regenerative world. Featuring over 300 global voices, the films have been made by artists from Ethiopia, Senegal, and the United States.

The series explores a future that is fair and regenerative, realized through global collaboration and the centering of historically marginalized groups. It intends to reframe the prevailing political rhetoric on climate change, grounding the narrative in the lived experience and voice of global citizens.

The aim is that these artworks help to turn an often data-driven and technically heavy conversation surrounding the global energy crisis into an open, intimate dialogue, creating accessible stories and new motivation for global change.

Commissioned and produced by Olafur Eliasson‘s Little Sun, the project has been stewarded by an advisory board composed of global leaders in climate and art. The films will form the foundation of an experimental curriculum for 16-18 year olds that will be rolled out in Ethiopia, Senegal, and the US before the end of the year.

“Little Sun’s Fast Forward film series offers a vital new space for artists to reimagine the future.” Olafur Eliasson

Possible World

Ethiopian mixed media artist, Ezra Wube‘s Possible World is a painted animation inspired by interviews conducted with over 100 everyday individuals across Ethiopia. In a series of beautiful and dynamic scenes, Wube brings to life his subjects’ dreams for a regenerative world, starting with existing practices that benefit both communities and the environment.

“Through their emotive reflections, artists can translate and communicate abstract ideas such as scientific statistical data into a relatable experience.” Ezra Wube.

Daregot

Daregot, by Ethiopian photographer and filmmaker, Naod Lemma, addresses the importance of working together to rise to the challenges of the climate crisis. In this short documentary film project, Lemma explores the paradoxical relationship between decision makers and societies in the lowest structure of the economy, specifically in terms of energy access.

“Art is not the only component to create a regenerative world, but the unlimited power of thinking and creativity allows artists to access unorthodox exploration of the conventional world. Artists’ interventions can challenge existing systems, raise questions on power hierarchies, and create new understanding of socio-political issues.” Naod Lemma.

Say When

American artist, Jessica Segall‘s film Say When addresses the urgent need to reach net zero by mid-century. In 2014, the US Bureau of Land Management designated 250,000 acres of public land for solar infrastructure. These sites remain almost entirely undeveloped, receiving few expressions of leasing interest to this date.

The film sees Segall walks through the desert landscape holding a mirror to the sky, personifying a heliostat, a centuries old technology that generates energy from the sun. Say When reminds us of our ability to manifest a world powered by the sun.

“We all have a role to play in the future of our planet, making daily choices in consumption (material or ideas). It’s not just up to activists and policy makers. Artists have skills in visual storytelling, and in forging unexpected connections. We access the unexpected and illogical, opening up new ways of thinking.

“We need to move from fossil fuel reliance into sustainable energy production. I hope that as an artist I can contribute to a meaningful discussion on solar energy and shared climate futures.” Jessica Segall.

Jant Yi

Jant Yi, by Senegalese artist and fashion designer, Selly Raby Kane, is a fantasy film that culminates in a real-world call to action. Set in a dystopian Dakar, in which humans must generate electricity from energy expended with their own bodies, Jant Yi invites audiences to reconsider their conception of the living and to inhabit the imaginary as a space for sowing potential futures.

Based in Dakar, Kane’s work is a tribute to Senegalese mythology and Dakar’s hidden stories.

“Jant Yi addresses the urgent need to adapt to protect communities and natural habitats. It represents the opportunity to put the creative practice at the service of preserving beauty and life.” Selly Raby Kane.

Aligned by the Sun

To make Aligned by the Sun, US collaborators, Ghost of a Dream compiled footage of the sun at the end of the day captured by artists in over 200 countries and autonomous zones across the world. The hope, according to the artists, is to show that we inhabit a single planet that is sustained by the light and warmth of the sun.

The collected suns were collaged together by layering the videos and aligning each video by the sun to spark a dialogue about equality, location, migration, and the environment.

“We hope by focusing on the sun, a resource the entire world has access to, and one that is unrestrained by our artificial borders, it will encourage people to think about the world we all share and need to take care of.

“Artists have the ability, and in our opinion a responsibility to, shed light on big issues, allowing people to see things differently. As our personal worlds became smaller during the pandemic, it was also abundantly clear that we are globally connected.” Ghost of the Sun.

 

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Doron Gazit The Red Line

The Red Line Project is a series of worldwide temporary installations that represent “the blood vein of mother nature” and highlight ecological devastations at locations affected by climate change.

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Doron Gazit

The Red Line

Representing “the blood vein of mother nature”, environmental artist, activist and designer Doron Gazit’s The Red Line Project highlights ecological devastations at locations affected by climate change.

The red three-dimensional line has been placed temporarily along the sinkholes of the Dead Sea in Israel, among the icebergs of the melting Knik Glacier in Alaska, in the burnt forests and dry lakes in southern California, and in the devastated Salton Sea area.

Gazit plans to take his project further to the melting glaciers in Patagonia and Antarctica, the disappearing forests of the Amazon, the Oral Sea in Russia, and many more.

His “lines” in the landscape, which are literal extensions of the act of drawing, are intended to be interventions, which draw attention to environmental degradation. On these bleak landscapes the Red Line creates haunting images, alerting observers to the urgent need to remedy and protect our endangered environment.

Gazit became enchanted with air-filled objects when, as a student of the Bezalel Academy of Art in Jerusalem, he introduced balloons to Bedouins in the Sinai desert. Rouch, the word for “wind” in Hebrew and Arabic, is also translated as “spirit,” and it is this dual meaning that continues to intrigue and guide Gazit in his work.

“By means of the Line/Artery, I anthropomorphize the earth, hoping that this will help us to understand the magnitude of the difficulties and the problems of the body in decline. Earth is a living, effervescent body — and now it’s dying!

“The Line is minimalistic, simple, graspable, and immensely powerful. Nature becomes a massively sprawling canvas. The Red Line is a red flag. By wielding it, I try to tug at the viewer’s heart and convey a grim message about the colossal disasters that this earth is experiencing. I try to convey that each of us must become an activist and a participant in the struggle to save our future.” Doron Gazit.

 

 

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Matteo Zamagni Horror Vacui

The title of the film is derived from Latin ‘fear of empty space’ or ‘fear of emptiness’. It is a term that describes an artistic obsession of filling every surface without leaving any empty space – much like humankind’s “frenetic expansion and hyper-development”.

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Matteo Zamagni

Horror Vacui

Matteo Zamagni’s Horror Vacui juxtaposes the Earth’s untouched lands with human beings’ artificial settlements. Using a back-and-forth of computer-aided designs, real images and digital reconstructions of forests, mountains landscapes and overpopulated metropolitan areas, Horror Vacui culminates in an explosion, that sees nature prevailing over constructions before it all retracts to an abstract, primordial-looking shape.

The title of the film is derived from Latin ‘fear of empty space’ or ‘fear of emptiness’. It is a term that describes an artistic obsession of filling every surface without leaving any empty space. This concept, according to Zamagni, “relates to the frenetic expansion and hyper-development currently undertaken by humankind.” Simultaneously, it references Buddhist philosophy as the way in which human beings are limited in grasping the ‘true nature of things and events’ known to the Buddhists as Emptiness.

 

Zamagni is a new media artist based in London. He expresses his ideas through video direction, real-time and offline graphics, and interactive installations. He observes the macro and micro scales of nature and speculates about its invisible flows, as well as observing the conscious and subconscious mind.

“My short film Horror Vacui conveys the current sense of urgency and its open ending reflects this pivoting moment in which a systemic shift of the current capitalist model is necessary in order to contain the already disastrous changes in our climate.

“The threat is tangible, more and more people are being directly affected by the climate crisis, especially those who are the least privileged. The call to act is urgent: every person on Earth must commit and come together in order to mitigate the catastrophes unfolding. The global leaders, the rich and powerful, must lead by example; be the drivers that make way for new green industries. They need to instill hope and catalyse the change we need for the future of mankind and the multitude of species which are now at risk of extinction due to outdated and unsustainable systems.

“This is the crucial moment where humanity has the opportunity to change and leave behind its individualistic desires driven by greed and selfishness. We must act as one in the face of the threat and at last move towards becoming a more a resilient, united, equal, kind and conscious species.” – Matteo Zamagni.

 

 

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Øyvind Engevik The Conservation

Norwegian CG artist and director, Øyvind Engevik’s, The Conservation considers the idea of a “backup planet”, where humans have to harvest “Earth’s seed” to build a new home.

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Øyvind Engevik

The Conservation

Norwegian CG artist and director, Øyvind Engevik’s The Conservation considers the idea of a “backup planet”, where humans have to harvest “Earth’s seed” to build a new home.

“We push because we must. We push because we are too late. We push because we no longer have a choice. We remember the melting glaciers. We remember the burning forests. We remember the dry lake beds. We regret not listening to the voices. We regret not noticing the signs. We regret not acting sooner. So, we must push. We must push to breathe. We must push to survive. We are busy keeping the tree alive. We are busy keeping hope alive. We are too busy to keep surviving like this. So, we will perish and die. The last tree is the last thing we will see. Don’t let this be the last thing you see. Remember to push for better environmental regulation. Remember to listen to the voices. Remember to pay attention to the signs. There’s still hope. There’s still a chance. There’s still time for you. To save the last tree for all of us.” – Øyvind Engevik.

“There needs to be a way to activate the community in order to help encourage daily change. There is no quick fix for climate change. Instead, we need to educate, empower and engage people to work towards climate change goals within their community.” Øyvind Engevik.

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Faraj Srour & Neomi Maggeni Industrial Echoes

The artists intensify the noise of oceanic seismic surveys in order to portray the far-reaching negative effects of humankind, “which travel across great distances, like industrial echoes, and may do more harm than the good we think they do.”

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Faraj Srour & Neomi Maggeni

Industrial Echoes

Musicians, Neomi Maggeni and Faraj Srour’s intention was to not only highlight the deeply traumatic experiences that whales go through as a result of man made noise but the “far-reaching negative effects of mankind, which travel across great distances, like industrial echoes, and may do more harm than the good we think they do.”

 

“Some oceanic seismic surveys are so powerful, they’re able to silence whole communities of whales for weeks. This unfortunate fact prompted us to look into noise pollution in the oceans and its effects on marine life. We intended to highlight the facts, as well as connect to the listener on a deeper level using sound. We collected data about man made noise in the ocean, as well as recordings of it, and merged them to create a sound experience supported by minimalistic visuals.

“Many people imagine the ocean as a calm quiet place, which was represented in the project by the background sounds of the ocean itself and the sounds of whale communications. However, the ocean is filled with man made noise. We intended to intensify this noise in order to simulate the disturbing environment whales are forced to live in and suffer through”. Faraj Srour & Neomi Maggeni.

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Jon Wreal Gondwana Digitata

Zimbabwean sculptor, Jon Wreal recreates the Gondwana Digitata (the African baobab) to not only raise awareness of the great importance of the largest succulent in existence, but to highlight the sense of community the tree encapsulates.

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Jon Wreal

Gondwana Digitata

Zimbabwean sculptor, Jon Wreal recreates the Gondwana Digitata, or African baobab, to not only raise awareness of the great importance of the largest succulent in existence, but to highlight the sense of community the tree encapsulates.

Gondwana Digitata has for centuries existed as a refuge or home for creatures great and small. The tree is a loose metaphor for community challenges and resilience. Known to grow in very arid conditions, it is a symbol of life and positivity in an environment where little can thrive.

“To acknowledge the root of its name “digitata”, special attention to detail was made in representing the form of the tree, mimicking digits of the hand. Unfortunately, these wooden elephants have started falling from great heights and have become endangered in their own locale due to climate change and parasitic attack.

“The structure is constructed out of steel (representative of the core strength both metaphorically and physically) and clad with cane to give a woven effect that is once again related to baskets of sustenance provided by the tree and a common art practice by artists in Zimbabwe.”

 

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Evelyn Anca Plastic Fish

An independently led community conservation project in the island of Kiriwina considering the current plastic pollution situation on the island that is posing environmental, health and social threats to the islanders.

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Evelyn Anca

Plastic Fish

Co-director of Plastic Free Israel, Evelyn Anca’s Plastic Fish is made from the pieces collected with the village youth on the Papua New Guinean island of Kiriwina.

The idea was raise awareness in the community and spark a conversation about the huge plastic problem in small islands.

 

“In many developing countries plastic pollution is out of control – there are no facilities or proper infrastructure for waste management and also a lack of awareness. Like many islands nations around the world, in Kiriwina people rely mostly on fish for their nutrition. However, plastic waste is piled up in villages, beaches and the sea floor, polluting the water and marine life which they rely on.

“I had the privilege of spending time with the people of Kiriwina island. I learnt about their culture and their way of living and the serious health, social and environmental issues they are experiencing as a result of the fast developing world and the introduction of materials such as plastic.

“Our Plastic Fish artwork spoke to the people because fish are so important in their nutrition and culture. I hope, it started a change.

“The problem is far from being solved and together with community conservation and awareness projects, a worldwide solution for plastic pollution must take place in order to prevent further impact on the environment, oceans, wildlife and many communities around the world that rely on the oceans for their living.” Evelyn Anca.

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Runa Ray Virtual Museum of Fashion

Step inside the digital museum of fashion to explore ancient and Indigenous techniques of garmenting, combined to demonstrate the negative impacts of the fashion industry and show that another way is possible.

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Runa Ray

Virtual Museum of Fashion

Step inside the digital museum of fashion to explore ancient and Indigenous techniques of garmenting, combined to demonstrate the negative impacts of the fashion industry and show that another way is possible.

In this project, fashion environmentalist and interdisciplinary designer from India, Runa Ray creates garments using seaweed and cyanobacteria to highlight the “devastating impact of synthetic fibers and microplastics on the health of the oceans and marine life.”

“As a fashion environmentalist, I believe, we have a responsibility towards our planet and environment. My body of work at the Museum comprises of nature based solutions and Indigenous techniques. You will discover zero stitch clothes, herbal dyed garments, red carpet collections using chlorophyll for printing, the ancient art of floating inks, and bio couture using cyanobacteria and seaweed which speak of regenerative textiles as an alternative to plastic.” Runa Ray.

“Art has always complemented science, and encouraged people and communities to think deeper, even change their ways.” Runa Ray.

 

 

 

 

Michel Platnic’s celebrated work, Genesis, catalysed the formation of art activism platform, ReGenesis. His work draws inspiration from the biblical world creation narrative. Day after day, the empty space is populated with flora and fauna. But with the disappearance of God and the appearance of man, the creative act takes a new turn. Man, incarnated by the artist, creates and consumes his creation.