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Seeds: Containers of a World to Come

Institution
Mildred Lane Kemper Art Museum / Washington University
Grant Cycle
Spring 2024
Amount
$75,000
Type of Grant
Exhibition Support
Website
www.kemperartmuseum.wustl.edu/seeds-containers-of-a-world-to-come ↗
Shiraz Bayjoo, Zott Konn – Yeman (They Know – The Wise), 2022. Mixed-media installation with color video with sound, 26:32 min. Installation view, Seeds and Souls, Kunsthal Charlottenborg, Denmark, 2023. Courtesy of Shiraz Bayjoo / Jhaveri Contemporary, Mumbai.
Carolina Caycedo, Ñañay Kculli ~ S'oam Bawi Wenag ~ Kiik K'úum, 2024. Eastern hard maple, Northwestern red alder, Brazilian purpleheart wood, natural fibers, and steel. Installation view, Life on Earth: Art & Ecofeminism, The Brick, Los Angeles, 2024. Courtesy of the artist and Commonwealth and Council (Los Angeles / Mexico City). Commissioned by The Brick and the Mildred Lane Kemper Art Museum. Photo: Ruben Diaz.
Juan William Chávez, Survival Blanket (Decolonize the Hive), 2023. Mixed-media installation, 15 x 15 ft. Installation view, Sharing the Same Breath, John Michael Kohler Arts Center, Sheboygan, WI, 2023. Photo courtesy of John Michael Kohler Arts Center.
Beatriz Cortez, Chultún El Semillero, 2021. Steel, plastic, paper, soil, corn, beans, amaranth, quinoa, morro gourd, achiote seeds, sorghum, potatoes, chayote/huisquil, and ceiba plant, approx. 5 x 7 x 17 ft. Courtesy of the artist and Commonwealth and Council. Photo: Albert Ting / Smithsonian Arts + Industries.
Kapwani Kiwanga, Vivarium: Apomixis, 2020. PVC, steel, color, and MDF. Installation view, Remediation, MOCA Toronto, 2023. Courtesy of the artist. © 2024 Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: Laura Findlay.
Jumana Manna, Family (Cache Series), 2022. Ceramic, concrete, lime, and pigments, overall dimensions variable. Installation view, Jumana Manna: Break, Take, Erase, Tally, MoMA PS1, New York, 2022. Courtesy of the artist and Hollybush Gardens, London. Photo: Steven Paneccasio.
Cecilia Vicuña, Semiya, 2015 (still). Color video with sound, 7:43 min. Courtesy of the artist and Electronic Arts Intermix (EAI), New York.
Emmi Whitehorse, Green Wood, 1996. Oil, colored pencil, charcoal, and pastel on paper mounted on canvas, 39 1/2 x 51 in.

Seeds: Containers of a World to Come brings into dialogue work by ten contemporary artists whose research-based practices are defined by sustained inquiry into plant–human–land relations. For the artists Shiraz Bayjoo, Carolina Caycedo, Juan William Chávez, Beatriz Cortez, Ellie Irons, Kapwani Kiwanga, Jumana Manna, Anne Percoco, Cecilia Vicuña, and Emmi Whitehorse, the seed is the kernel, literally and metaphorically, of their investigations into issues of fragility, preservation, and possibility in the face of the global climate crisis.

Working with and from a diversity of geographical and cultural contexts—the Americas, the Middle East, Africa, and Western Europe—the artists in the exhibition create captivating sculptures, films, installations, and paintings that range from abstract, to speculative, to documentary. They share an anticolonial perspective critical of extractive capitalism, calling for more expansive ideas of a “world to come.” The exhibition aims to spark active and imaginative responses through encounters with visually arresting artworks that reflect on and reframe our understanding of current environmental challenges and our connections to the natural world.

“The Foundation’s commitment to supporting artists by funding the institutions that incubate, encourage, exhibit and critically engage their work is unwavering. Non-profit arts organizations face profound challenges due to the political, economic, social and cultural upheavals of our current moment.  At the same time, and more than ever, artists need the supportive community and creative encouragement that these organizations provide.”

Joel Wachs, President

The Andy Warhol Foundation for the Visual Arts
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