{"id":16063,"date":"2021-04-19T13:50:00","date_gmt":"2021-04-19T11:50:00","guid":{"rendered":"https:\/\/www.schirn.de\/schirnmag\/critical-land-indigene-kunst-und-identitaet-2\/"},"modified":"2025-01-27T16:51:01","modified_gmt":"2025-01-27T15:51:01","slug":"critical-land-indigene-kunst-und-identitaet-2","status":"publish","type":"magazin-artikel","link":"https:\/\/www.schirn.de\/en\/schirnmag\/critical-land-indigene-kunst-und-identitaet-2\/","title":{"rendered":"Critical land. Indigenous art and identity"},"content":{"rendered":"<section class='wp-block-ho-pattern ' data-pattern='ho\/header-magazin-audio'>\n\n<div class=\"wp-block-ho-div\">\n\n<div  class='container-fluid sizes-width-fill'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 margin-bottom-4 text-align-center'  data-motion-text=\"{&quot;child&quot;:&quot;.ho-sd-mag-h2&quot;,&quot;force&quot;:true,&quot;delay&quot;:0,&quot;speed&quot;:0.9,&quot;ease&quot;:&quot;expo.out&quot;}\">\n<h1 class='ho-sd-mag-h2' style=\"white-space: normal;\">Critical land.<br \/>\nIndigenous art and identity<\/h1>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='container-fluid mobile-margin-bottom-3 sizes-width-fill'>\n\n<div  class='row'>\n\n<div  class='col col-xs-10 col-xs-offset-1 col-md-4 col-md-offset-4'  data-motion-text=\"{&quot;child&quot;:&quot;.lazy-media-motion-wrapper&quot;,&quot;force&quot;:true,&quot;delay&quot;:0.3,&quot;speed&quot;:0.9,&quot;ease&quot;:&quot;expo.out&quot;}\">\n\n<div  class='lazy-media-motion-wrapper'>\n\n<div  class='lazy-media-play-content-wrapper margin-bottom-5'>\n<div class=\"wp-block wp-block-ho-flash \" style=\"\">\n\n\t\t\t\t\t\t\t\t<div class=\"flash-animation-data\" data-animations='[{\"id\":\"full\",\"name\":\"Full\",\"types\":[{\"name\":\"y\",\"start\":\"-5\",\"end\":\"5\"}]},{\"id\":\"in\",\"name\":\"In\",\"types\":[]},{\"id\":\"out\",\"name\":\"Out\",\"types\":[]}]' data-target=\".lazy-media-contents\" data-animationsmobile='[{\"id\":\"full\",\"name\":\"Full\",\"types\":[{\"name\":\"y\",\"start\":\"-5\",\"end\":\"5\"}]},{\"id\":\"in\",\"name\":\"In\",\"types\":[]},{\"id\":\"out\",\"name\":\"Out\",\"types\":[]}]'>\n\t\t\t\t\t<flash-animation inline-template>\n\t\t\t\t\t\t<div class=\"flash-animation\" :class=\"classes\" ref=\"layer\">\n\t\t\t\t\t\t\t<figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_Q7Q1bn\">\n<script type=\"application\/json\">{\n\"id\" : 16009,\n\"sizes\" : {\"medium\":{\"file\":\"CriticalLand2_Final-300x138.jpg\",\"width\":300,\"height\":138,\"mime-type\":\"image\\\/jpeg\",\"filesize\":8778},\"large\":{\"file\":\"CriticalLand2_Final-1024x471.jpg\",\"width\":1024,\"height\":471,\"mime-type\":\"image\\\/jpeg\",\"filesize\":75204},\"medium_large\":{\"file\":\"CriticalLand2_Final-768x354.jpg\",\"width\":768,\"height\":354,\"mime-type\":\"image\\\/jpeg\",\"filesize\":44133},\"1536x1536\":{\"file\":\"CriticalLand2_Final-1536x707.jpg\",\"width\":1536,\"height\":707,\"mime-type\":\"image\\\/jpeg\",\"filesize\":161912},\"small\":{\"file\":\"CriticalLand2_Final-440x203.jpg\",\"width\":440,\"height\":203,\"mime-type\":\"image\\\/jpeg\",\"filesize\":16403},\"semi\":{\"file\":\"CriticalLand2_Final-580x267.jpg\",\"width\":580,\"height\":267,\"mime-type\":\"image\\\/jpeg\",\"filesize\":26487},\"mobile\":{\"file\":\"CriticalLand2_Final-720x332.jpg\",\"width\":720,\"height\":332,\"mime-type\":\"image\\\/jpeg\",\"filesize\":38725},\"hd\":{\"file\":\"CriticalLand2_Final-1280x589.jpg\",\"width\":1280,\"height\":589,\"mime-type\":\"image\\\/jpeg\",\"filesize\":115087},\"original\":{\"file\":\"CriticalLand2_Final.jpg\",\"width\":1920,\"height\":884}},\n\"alt\" : \"\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2024\\\/12\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : {\"x\":0.5,\"y\":0.5},\n\"background\" : true,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:66.67%;   \">\n\t<div class=\"height-container-contents lazy-media-contents\">\n\t\n\t<div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\t<lazy-media-inline inline-template>\n\t\t<div>\n\t\t\t<lazy-media :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\" v-if=\"sizes\"><\/lazy-media>\n\t\t<\/div>\n\t<\/lazy-media-inline>\n\t\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/flash-animation>\n\t\t\t\t<\/div>\n\t\t\t\t\n<\/div>\n\n\n\n\n<div  class='lazy-media-play-content-fg'>\n\t<standard-audio inline-template>\n\t\t<figure class=\"audio-player\" ref=\"player\">\n\t\t\t<script type=\"application\/json\" ref=\"data\">\n\t\t\t\t{\n\t\t\t\t\"src\" :  \"https:\\\/\\\/www.schirn.de\\\/wp-content\\\/uploads\\\/2024\\\/12\\\/406026-m-71a680672932761c39d5c75a5a72360f.mp3\",\n\t\t\t\t\"label\"  : \"Critical Land. Indigene Kunst und Identit&auml;t\",\n\t\t\t\t\"description\"  : \"\"\t\t\t\t}\n\t\t\t<\/script>\n\n\t\t\t<div class=\"audio-player-row audio-player-top\">\n\t<div class=\"audio-player-btns\" :class=\"{ playing: playing }\" >\n\t\t<button type=\"button\" class=\"ho-button is-secondary color-bg-is-white is-large audio-player-btns-play\" @click=\"play\" aria-label=\"Audio Abspielen\">\n\t\t\t<span class=\"ho-button-label\">Play<\/span>\n\t\t<\/button>\n\n\t\t<button type=\"button\" class=\"ho-button is-secondary color-bg-is-white is-large audio-player-btns-pause\" @click=\"pause\" aria-label=\"Audio pausieren\">\n\t\t\t<span class=\"ho-button-label\">Stop<\/span>\n\t\t<\/button>\n\t<\/div>\n<\/div>\n\t\t<\/figure>\n\t<\/standard-audio>\n\n\t<\/div>\n\n\n\n\n<div  class='video-audio-time hide-while-playing'>\n<h6 class='video-audio-time-label' style=\"white-space: normal;\">36:19<\/h6>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div  class='container-fluid margin-bottom-7'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-4 col-md-offset-8 margin-bottom-5'><section class='wp-block-ho-pattern ' data-pattern='ho\/magazin-header-eigenschaften'>\n\n<div  class='magazine-header-props text-align-right'>\n\n<div  class='container-fluid cf-rem-max-width cf-side-1 cf-gutter-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'><div class=\"wp-block-ho-slot \"><p>04\/19\/2021<\/p><\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='margin-bottom-3'>\n\n<div  class='flex-align-center-right'>\n<div class=\"wp-block-ho-slot \"><p>30 min reading time<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-ho-slot \"><div class=\"container-fluid cf-rem-max-width cf-side-1 cf-gutter-1\"><div class=\"row\"><div class=\"col col-xs-12\"><div class=\"margin-bottom-3\"><div class=\"components-image-text-person-image-small-group flex-align-top-right\"><div class=\"col col-xs-12\"><div class=\"components-image-text-persons-line\"><span class=\"ho-sd-body\">Host:<\/span><a href=\"https:\/\/www.schirn.de\/en\/beteiligte\/sylvia-cunningham-en\/\" class=\"components-image-text-person-image-small\"><div class=\"components-image-text-person-image-small-text ho-sd-body\">Sylvia Cunningham<\/div><\/a><\/div><\/div><div class=\"col col-xs-12\"><div class=\"components-image-text-persons-line\"><span class=\"ho-sd-body\">Illustrator:<\/span><a href=\"https:\/\/www.schirn.de\/en\/beteiligte\/oriana-fenwick-en\/\" class=\"components-image-text-person-image-small\"><div class=\"components-image-text-person-image-small-text ho-sd-body\">Oriana Fenwick<\/div><\/a><\/div><\/div><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"margin-bottom-3\"><div class=\"flex-align-top-right\"><a href=\"https:\/\/www.schirn.de\/en\/kuenstler\/caroline-monnet-en\/\" class=\"components-image-text-person-image-small\"><div class=\"components-image-text-person-image-small-text ho-sd-body\">Caroline Monnet<\/div><div class=\"components-image-text-person-image-small-image\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d77e9cc677a\"><script type=\"application\/json\">{\n\"id\" : 18533,\n\"sizes\" : 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-1280x1920.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-1280x1920.jpg 1280w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-200x300.jpg 200w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-683x1024.jpg 683w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-768x1152.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-1024x1536.jpg 1024w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-1365x2048.jpg 1365w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-293x440.jpg 293w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-387x580.jpg 387w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-480x720.jpg 480w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CM_Portrait_credit_UlyssedelDrago-FNC2016-853x1280.jpg 853w\" sizes=\"(max-width: 763px) 100vw, (min-width: 764px) and (max-width: 1023px) 100vw, (min-width: 1024px) 100vw\" alt=\"\" loading=\"lazy\" \/><\/div><\/div><\/div><\/figure><\/div><\/a><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"wp-block-ho-div\"><div class=\"ho-tag-group flex-align-top-right\"><div class=\"ho-tag is-tertiary\"><a href=\"https:\/\/www.schirn.de\/en\/hauptkategorie\/podcast-en\/\" class=\"ho-tag-label\">Podcast<\/a><\/div><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"wp-block-ho-div\"><div class=\"ho-tag-group flex-align-top-right\"><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/exhibition\/\" class=\"ho-tag-label\">Exhibition<\/a><\/div><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/politics\/\" class=\"ho-tag-label\">Politics<\/a><\/div><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/postcolonialism\/\" class=\"ho-tag-label\">Postcolonialism<\/a><\/div><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/contemporary-art\/\" class=\"ho-tag-label\">Contemporary Art<\/a><\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div>\n<\/div>\n<\/section><\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12 last-xs col-md-8'>\t<p class='ho-sd-h4'>In our new podcast series with Indigenous perspectives on art, nature, decolonisation and climate change, we talk with Algonquin-French artist Caroline Monnet.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline' data-pattern='ho\/text-magazin-related-artikel'>\n\n<div  class='container-fluid margin-bottom-7'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-xs-12 padding-bottom-3'>\n<h4 class='ho-sd-mag-h3' style=\"white-space: normal;\">Transcript<\/h4>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-6'>\t<p class='ho-sd-body'><strong>Sylvia Cunningham:<\/strong> Welcome to \u201cCritical land\u201d. I\u2019m your host, Sylvia Cunningham. This is the second episode of an English-language podcast from the Schirn Kunsthalle Frank\u00adfurt debuting along\u00adside its latest exhi\u00adbi\u00adtion, \u201cMagnetic North: Imag\u00adining Canada in Painting 1910-1940.\u201d In this podcast series, we\u2019re drawing from some of the themes in \u201cMagnetic North\u201d to go beyond what is displayed on the gallery walls through conver\u00adsa\u00adtions with Indige\u00adnous artists and scholars. The exhi\u00adbi\u00adtion exam\u00adines modern Cana\u00addian land\u00adscape painting from a contem\u00adpo\u00adrary stand\u00adpoint. It also features the film, \u201cHow a People Live,\u201d from Anishi\u00adnaabe film\u00admaker Lisa Jackson and \u201cMobi\u00adlize\u201d from Algo\u00adnquin-French artist Caro\u00adline Monnet, whom you\u2019ll be hearing from in today\u2019s episode. Monnet\u2019s immer\u00adsive video instal\u00adla\u00adtion, \u201cTransat\u00adlantic,\u201d is also on view in the publicly acces\u00adsible Rotunda at the Schirn. A quick note \u2014 we talked about the Group of Seven in the first episode of \u201cCritical land\u201d with the exhi\u00adbi\u00adtion\u2019s curator Martina Wein\u00adhart and Lakota-Scot\u00adtish art professor Carmen Robertson, so if you haven\u2019t listened to those inter\u00adviews yet, you can do so\u00a0<a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/critical-land-mythos-der-unberuehrten-natur-2\/\" data-type=\"magazin-artikel\" data-id=\"16117\">here<\/a>.\u00a0Now to today\u2019s episode. Caro\u00adline Monnet is a multi\u00addis\u00adci\u00adpli\u00adnary artist based in Montreal. She grew up in both Gatineau, Qu\u00e9bec and Brit\u00adtany, France. Her mother is Algo\u00adnquin, her father is French, and she works with many different mediums, including film\u00admaking, sculp\u00adture, instal\u00adla\u00adtion and painting.<br>[Audio from \u201cMobi\u00adlize\u201d]<br>What you\u2019re hearing now is sound from Monnet\u2019s short film, \u201cMobi\u00adlize,\u201d one of her works on view at the Schirn.\u00a0The film has an incred\u00adible driving pace, from the music performed by Tanya Tagaq to the actions we see on camera. There\u2019s one man master\u00adfully paddling through the water, others are peeling birch bark to make a canoe. We also see scenes in the bustling city, including Mohawk iron\u00adworkers climbing atop steel girders. I asked Caro\u00adline Monnet how this film came to be.<br><br><strong>Caroline Monnet:<\/strong> In 2015, the National Film Board of Canada approached me to rework mate\u00adrials from their archives. This was part of their \u201cSouvenir\u201d series, so we were four film\u00admakers across Canada to make a three-minute video with their archives. The only direc\u00adtion they gave us was to portray Indige\u00adnous iden\u00adtity, which I thought was a very abstract thing because for me there are many Indige\u00adnous real\u00adi\u00adties. I had access to over 800 films, most of them were made from a white, male perspec\u00adtive, approaching Indige\u00adnous people from an anthro\u00adpo\u00adlog\u00adical stand\u00adpoint where the protag\u00ado\u00adnists are always presented as very passive, kind of busy working on their craft and really insisting on remaining at the margins of Cana\u00addian society. So, there\u2019s kind of a tension between the orig\u00adinal footage that was created during a time of histor\u00adical chaos and the treat\u00adment of Indige\u00adnous people and between the remix that I did in \u201cMobi\u00adlize.\u201d Because I used these visuals, these films to kind of summon the mobi\u00adliza\u00adtion of Indige\u00adnous people, nation\u00adwide. For me Indige\u00adnous iden\u00adtity is some\u00adthing vibrant and dynamic. It\u2019s not some\u00adthing passive that is shown in these films. I wanted audi\u00adences to feel ener\u00adgized seeing Indige\u00adnous people showing off their skills on screen. That\u2019s why I was partic\u00adu\u00adlarly inter\u00adested in images of people walking or building, canoeing, moving forward. For me this really coun\u00adters the inertia too often portrayed in Cana\u00addian media.<br><br><strong>Sylvia Cunningham:<\/strong> Even the fact that you were invited to do this within the frame\u00adwork of \u201cIndige\u00adnous iden\u00adtity\u201d \u2014 which is this term that\u2019s singular, it\u2019s mono\u00adlithic \u2014 how did you approach it? Did you approach it from your personal back\u00adground or how could you convey that it\u2019s impos\u00adsible to boil this down to a mono\u00adlithic view?\u00a0<br><br><strong>Caroline Monnet:<\/strong> You cannot boil it down to a mono\u00adlithic view because there are multiple real\u00adi\u00adties of Indige\u00adnous iden\u00adtity, and there\u2019s so much diver\u00adsity within the big Indige\u00adnous commu\u00adnity itself across Canada. I knew I didn\u2019t want to go into the nostalgic realm of choosing black and white footage. That\u2019s why I decided to go with 16mm color footage because to bring that kind of consis\u00adtency from begin\u00adning to end of the film and where audi\u00adences would almost feel that I shot it myself. You start looking more at texture and colors and piecing each visual together, almost like a puzzle except you don\u2019t know what the end image will be. You just piece it together and somehow start finding a narra\u00adtive with all that. In some ways the film also repre\u00adsents my own family\u2019s history. I didn\u2019t grow up in my mom\u2019s commu\u00adnity but across gener\u00ada\u00adtions, it evolves on the land. I think there\u2019s a level of priv\u00adi\u00adlege that comes with the migra\u00adtion to the city, accessing jobs and educa\u00adtion, but with that priv\u00adi\u00adlege comes a level of assim\u00adi\u00adla\u00adtion, trauma, and displace\u00adment. You start building a new narra\u00adtive in these cities. I was really intrigued by that and the kind of notion of labor that is very different in the city, than out on the land and doesn\u2019t require the same skill set and knowl\u00adedge. So, the film was really about that. Overall, \u201cMobi\u00adlize\u201d is about pointing how Indige\u00adnous people were instru\u00admental in shaping Cana\u00addian society, to the extent of building skyscrapers in our city. It was about saying our pres\u00adence as Indige\u00adnous people can no longer be ignored.\u00a0<br><br><strong>Sylvia Cunningham:<\/strong> You mentioned you narrowed down the scope to 16mm color footage. How many hours of film was that then that you had access to work with then?\u00a0<br><br><strong>Caroline Monnet:<\/strong> I had access to 800 films, but you\u2019d start typing keywords, because you can\u2019t watch them all. The keywords were about \u201cbuilding\u201d and \u201cwalking\u201d and \u201cIndige\u00adnous people walking,\u201d \u201cIndige\u00adnous people running,\u201d \u201cIndige\u00adnous people building.\u201d I wanted the idea of being in action and not show\u00adcase a passive people. We\u2019re not stag\u00adnant in time, we\u2019re very active and we have a set of skills that are actu\u00adally very cele\u00adbrated. We\u2019re part of this vibrant society, and we have our place within it, and I wanted to show that, so you have to work quite instinc\u00adtively with that process, working with archives. I was using Tanya Tagaq\u2019s sound\u00adtrack, which was instru\u00admental in bringing that level of energy in the editing as well. I edited on the sound\u00adtrack and her music has this tradi\u00adtional connec\u00adtion while remaining very contem\u00adpo\u00adrary, almost like metal music, which I thought was really inter\u00adesting. Her sound helped to use the archives to speak about the future.<br><br><strong>Sylvia Cunningham:<\/strong> So, that came into process rela\u00adtively early? I was going to ask about that. You knew you were going to be using Tanya Tagaq\u2019s music and craft the footage to it, to build and match that track\u2019s driving pace?\u00a0<br><br><strong>Caroline Monnet:<\/strong> Yes, absolutely. I had access to her album and I chose the most upbeat track on the album because from the very begin\u00adning it was clear to me that I wanted\u2014because it\u2019s only three minutes\u2014to have this expe\u00adri\u00adence, create an expe\u00adri\u00adence for audi\u00adences where they would be almost plugged to the computer and be bombarded by images and then their heart would start pounding. They\u2019d be out of breath and they\u2019d be totally ener\u00adgized by seeing Indige\u00adnous people kicking ass on screen. You don\u2019t really under\u00adstand what just happened to you, but you have this level of energy, and it\u2019s with Indige\u00adnous repre\u00adsen\u00adta\u00adtion on screen. That was the main inten\u00adtion behind the film.<br><br><strong>Sylvia Cunningham:<\/strong> It\u2019s so mesmer\u00adizing and intriguing watching what everyone\u2019s doing, there is really so much going on. In contrast, your other work at the Schirn, in the publicly acces\u00adsible Rotunda, the video instal\u00adla\u00adtion \u201cTransat\u00adlantic,\u201d is really devoid of human pres\u00adence. For that work, which we\u2019re hearing a little bit of the audio from now, you embarked on a cargo ship from a port in Europe and then trav\u00adeled to where you live now, to Montreal. Can you describe what that journey was like for you?<br><br><strong>Caroline Monnet:<\/strong> Well \u201cTransat\u00adlantic\u201d is a trip I took in 2012 on a cargo ship from the Dutch port of IJmuiden, just west of Amsterdam, all the way to Montreal, the Great Lakes in North America. It took me 22 days to cross the Atlantic Ocean. The whole journey was docu\u00admented through a mini-DV hand\u00adheld camera. The video carries different states of emotion that I felt at sea, like heavy tension, nervous\u00adness, boredom and even some\u00adtimes a bit of fear, when we hit storms, but also because I was in a male-domi\u00adnated envi\u00adron\u00adment of ship\u00adping and industry. There were moments where I did ask myself, why I thought about doing this trip in the first place. The initial idea behind it is that for me, the transat\u00adlantic ocean was a middle ground for both my ances\u00adtors to meet. It was kind of a symbolic place. This idea of borders, whether they\u2019re phys\u00adical or metaphor\u00adical, has always been very present in my works, so it\u2019s a contin\u00adu\u00ada\u00adtion of that idea. I grew up between two conti\u00adnents, two cultures, so I\u2019ve been fasci\u00adnated with this idea of duality and how polit\u00adical and social histo\u00adries shape your iden\u00adtity. We always say that iden\u00adtity is intrinsic to terri\u00adtory, but what does it mean when you come from two distinc\u00adtive terri\u00adto\u00adries, how does that shape your iden\u00adtity? That was the kind of seed behind the project. I filmed it in 2012, but it took me a good six years to finish it. I finished it in 2018 and I\u2019m glad it actu\u00adally matured a little bit because then the project started looking into the Atlantic Ocean as an ongoing colo\u00adnial move\u00adment and economic exchange between Europe and North America, and how colo\u00adniza\u00adtion is a histor\u00adical event defined by the transat\u00adlantic slave trade and the geno\u00adcide of Indige\u00adnous people. So, it became a much more engaging piece rather than only a personal piece.<br><br><strong>Sylvia Cunningham:<\/strong> What do you think it was in those six inter\u00advening years that allowed that framing and narra\u00adtive to develop in your head? Was it a matter of research or other projects that influ\u00adenced your reflec\u00adtions on it?<br><br><strong>Caroline Monnet:<\/strong> I took the trip and then the tapes were sitting on the shelf for a long time, I just didn\u2019t know what to do. I didn\u2019t have a clear idea of what to do with it. I knew I did not want it to just be a docu\u00admen\u00adtary piece, that\u2019s why I removed all the men at work. It\u2019s very abstract, it becomes almost like a vessel trav\u00adeling across a great divide. It\u2019s more of an expe\u00adri\u00adence rather than a docu\u00adment. It was very impor\u00adtant for me to create an immer\u00adsive expe\u00adri\u00adence with it, and it took me this long, I\u2019m not sure why. \u201cMobi\u00adlize\u201d was done in only one month, from start to finish, from concept to delivery of the product, and \u201cTransat\u00adlantic\u201d took me six years. I think I needed some level of matu\u00adrity as an artist and as a thinker to envi\u00adsion some kind of instal\u00adla\u00adtion rather than just a docu\u00adment that would play at film festi\u00advals.\u00a0<br><br><strong>Sylvia Cunningham:<\/strong> What we see at the begin\u00adning of the film is this more indus\u00adtrial scene with smoke\u00adstacks and then and at the end of this whole voyage, we see a cityscape at night, with lots of build\u00adings of course. I felt that those images are very anchoring because I know exactly where I am. But it\u2019s the between where it\u2019s just open waters, where you feel totally sucked in, where you feel like you can get lost. I&#8217;m wondering if that echoes a bit what it was like for you during your three-week journey. You were quite isolated, right? What was it like being out on the open waters where, like you said, it was just inter\u00adac\u00adtion with the crew, there was no connec\u00adtion to the outside world at all during those 22 days?<br><br><strong>Caroline Monnet:<\/strong> No, which was an inter\u00adesting concept. It\u2019s true, you have no connec\u00adtion to phone or internet, you\u2019re really out at sea for 22 days and it\u2019s kind of a pocket of time\u2026 you can\u2019t go anywhere, this is where you are. Very inter\u00adesting expe\u00adri\u00adence, all your refer\u00adences points, they all disap\u00adpear because there are no markers on the horizon, it\u2019s always the same. You start getting into a different state of mind which is a very intriguing place to be.<br><br><strong>Sylvia Cunningham:<\/strong> Some\u00adthing that my mom says, which I\u2019m not totally sure I agree with, is that the best part of a trip is the part before, the plan\u00adning stage, looking forward to every\u00adthing, the antic\u00adi\u00adpa\u00adtion of the trip. And the after\u00adwards, the memo\u00adries of it and kind of reliving it. What were your emotions upon arriving home to Montreal? The first night you were back on your bed, were you relieved or was a part of you already roman\u00adti\u00adcizing being back on the open waters. How did your return feel?<br><br><strong>Caroline Monnet:<\/strong>\u00a0I think there was a level of roman\u00adti\u00adcizing the idea of crossing the Atlantic Ocean, it\u2019s the mytho\u00adlog\u00adical route of my father coming to France, migrating to Canada, and so many other people, so many other gener\u00ada\u00adtions and settlers\u2019 expe\u00adri\u00adences. But yes, I was ecstatic when I arrived in Montreal to finally step foot on land, because it\u2019s a long trip, you long for the people, for the connec\u00adtion to the people you love. It was an inter\u00adesting journey, but I\u2019m not sure I agree with your mom on that one. There\u2019s some\u00adthing about going from point A to point B, the journey is what is fasci\u00adnating how you grow as a person, and the idea of crossing a line or some\u00adthing. The journey itself is inter\u00adesting.<br><br><strong>Sylvia Cunningham:<\/strong> Both of your works are being shown at the Schirn at the same time the Group of Seven\u2019s work is being displayed there, for the first time in Germany actu\u00adally. How have you reflected on that context, espe\u00adcially knowing for visi\u00adtors that they\u2019ll be presented with these different dimen\u00adsions of art orig\u00adi\u00adnating from people in Canada.\u00a0<br><br><strong>Caroline Monnet:<\/strong> Well defi\u00adnitely growing up in Canada, the Group of Seven is kind of the first refer\u00adence you have of painting and Cana\u00addian art in general. Every child in Canada has grown up on it. You know all the great painters like Rembrandt, Picasso, but you also know the Group of Seven, so we come to under\u00adstand Canada through those paint\u00adings. You espe\u00adcially come to under\u00adstand the repre\u00adsen\u00adta\u00adtion of Cana\u00addian land\u00adscape through those paint\u00adings. But I guess my inter\u00adpre\u00adta\u00adtion of it is that these paint\u00adings contributed to telling a story that is very different from the Indige\u00adnous perspec\u00adtives because it was really about this pris\u00adtine, unin\u00adhab\u00adited, super terri\u00adto\u00adries, waiting to be discov\u00adered.\u00a0They call it the \u201cterra nullius\u201d although it was habited for centuries already. To simply remove that Indige\u00adnous history from those stories, to remove the Indige\u00adnous pres\u00adence from that history is perpet\u00adu\u00adating the colo\u00adnial gaze, the erasure of Indige\u00adnous stories and people and the displace\u00adment of Indige\u00adnous people. It\u2019s a bitter\u00adsweet rela\u00adtion\u00adship with those paint\u00adings and the Group of Seven. Tech\u00adni\u00adcally they\u2019re spec\u00adtac\u00adular and it\u2019s a great move\u00adment, but at the same time, it contributes to exactly what we\u2019re fighting against.<br><br><strong>Sylvia Cunningham:<\/strong> Some\u00adthing we talked about in the first episode of \u201cCritical land\u201d with Professor Carmen Robertson was the differ\u00adence between land and land\u00adscape. What do those terms mean to you?<br><br><strong>Caroline Monnet:<\/strong> Land\u00adscape for me is a repre\u00adsen\u00adta\u00adtion of topog\u00adraphy and it\u2019s some\u00adthing that is beau\u00adtiful and that you can almost imagine, it\u2019s part of an imag\u00adi\u00adna\u00adtion. You can describe a land\u00adscape. Whereas land is where we belong, it\u2019s where every\u00adthing orig\u00adi\u00adnates. We cannot possess the Earth, it\u2019s the Earth that possesses us, we come from that and we go back to that. I think land is the notion of terri\u00adtory and the center of all people because that\u2019s where all the roots of our knowl\u00adedge is from\u2014our languages, our tradi\u00adtion, our sense of belonging and sense of iden\u00adtity\u2014so I think there\u2019s multiple terri\u00adto\u00adries, multiple lands. There\u2019s a diver\u00adsity of it and I think we can only speak of the land we come from. I don\u2019t think I could speak for \u201cCana\u00addian land,\u201d I only know the place where I come from and the region I come from in Canada and the connec\u00adtion that I have with that land in partic\u00adular and where my people have connec\u00adtion to that land as well.<br><br><strong>Sylvia Cunningham:<\/strong> I was watching a previous inter\u00adview that you did, and I hope I\u2019m under\u00adstanding what you said correctly, but you were talking about how you\u2019re inter\u00adested in Indige\u00adnous artists looking back at and reflecting on various art move\u00adments. How would you apply your perspec\u00adtive to the Group of Seven&#8217;s land\u00adscape paint\u00adings and the time in which they were painting in\u2014that move\u00adment?<br><br><strong>Caroline Monnet:<\/strong> Wow, that\u2019s a really good ques\u00adtion. I don\u2019t know because it\u2019s a move\u00adment in itself, but how would you call that move\u00adment in painting? It\u2019s quite figu\u00adra\u00adtive so I\u2019m not sure it\u2019s a move\u00adment that I would instinc\u00adtively explore such as Modernism, or Dadaism or Surre\u00adalism, where it becomes a real move\u00adment world\u00adwide. This partic\u00adular group is very partic\u00adular to Canada and the repre\u00adsen\u00adta\u00adtion of land\u00adscape. They\u2019re kind of explorers on the land, right? They set up out on the land and they try to repre\u00adsent it to the best of their abil\u00adi\u00adties, but also adding their own settlers\u2019 gaze, so it\u2019s also a level of their own imag\u00adi\u00adna\u00adtion that\u2019s embedded in the work. It\u2019s a really good ques\u00adtion, I\u2019ll have to reflect on that one, how would I appro\u00adpriate it from my own Indige\u00adnous lens.<br><br><strong>Sylvia Cunningham:<\/strong> You come from both Algo\u00adnquin and French heritage, and I\u2019ve seen how you\u2019ve previ\u00adously talked about marrying tradi\u00adtional prac\u00adtices with contem\u00adpo\u00adrary prac\u00adtices. That your work is often building bridges. Did you learn about your Algo\u00adnquin ancestry and heritage through your own upbringing, or have you come to learn more about this history and tradi\u00adtions as an artist who is specif\u00adi\u00adcally confronting these themes in your art?<br><br><strong>Caroline Monnet:<\/strong> I would say as an artist, I was doing work that is research-based. It allowed me to go deeper into these notions and this knowl\u00adedge and learning more about where I come from, but it\u2019s some\u00adthing that was always present growing up, it\u2019s just not some\u00adthing you\u2019d talk about around the kitchen table. You don\u2019t really talk about your culture at home, it\u2019s not some\u00adthing you start defining with your parents, or your siblings, or aunts and uncles. It\u2019s more as an artist when I start looking into topics that are impor\u00adtant to me and wanting to discuss certain things in our society and wanting to open dialogue about certain issues of our society, then I start digging more and looking into more tradi\u00adtional art or tradi\u00adtional teach\u00adings, and just looking more into where my people come from. I grew up in suburbia of Ottawa, so I didn\u2019t grow up in my mother\u2019s commu\u00adnity. We would go back for funerals, or weddings, but it wasn\u2019t some\u00adthing that was super cele\u00adbrated growing up. It\u2019s only later, when it became a little more accepted in Cana\u00addian society, that I was able to dig a bit deeper.<br><br><strong>Sylvia Cunningham:<\/strong> Has that since become a bridge to your mother and extended family? I mean, has it become some\u00adthing you maybe would talk about around the kitchen table?<br><br><strong>Caroline Monnet:<\/strong> Maybe a little bit more because now it\u2019s so embedded in my life and the work that I do. So yes of course if my mom asks me what I\u2019m working on I\u2019ll tell her more about it or just the people that I have in my surround\u00adings. It took only four gener\u00ada\u00adtions with cultural geno\u00adcide to erase us.\u00a0Not even 50 years ago we weren\u2019t allowed to express ourselves creatively so there\u2019s a certain level of respon\u00adsi\u00adbility that comes with the new gener\u00ada\u00adtion, and my gener\u00ada\u00adtion to be able to be present and keep those tradi\u00adtions alive. There\u2019s kind of a gap between my grand\u00adfa\u00adther and myself, just to be able to work to bridge that gap and to bring that back into my own family and my own surrounding.<br><br><strong>Sylvia Cunningham:<\/strong> I\u2019d love to touch on one more of your films,\u00a0\u201cCrea\u00adtura Dada.\u201d\u00a0I was plan\u00adning on describing it myself, but actu\u00adally I\u2019d love if you would describe it instead, what this short film is.<br><br><strong>Caroline Monnet:<\/strong>\u00a0It was the 100th anniver\u00adsary of Dadaism and I was asked by the Festival du nouveau cin\u00e9ma in Montreal to create a Carte Blanche, to make a very short video. I had the \u201cwhite page complex,\u201d I didn\u2019t know what to do. So I decided to take the small budget they offered me and invite Indige\u00adnous Fran\u00adcophone women at my table to make a feast and buy cham\u00adpagne and treat them to a nice after\u00adnoon expe\u00adri\u00adence. It\u2019s very rare that we get the chance to get together and just exchange and dialogue and spend time together. These women are promi\u00adnent leaders of their commu\u00adni\u00adties, they\u2019re artists like Nadia Myre but also Alanis Obom\u00adsawin who is this amazing role model for the Indige\u00adnous commu\u00adni\u00adties. I filmed the entire expe\u00adri\u00adence and it was about breaking all rules because they don\u2019t suit us in Cana\u00addian society and rein\u00adventing the world as we see fit. It was about marching forward as women, as leaders of our commu\u00adni\u00adties.<br><br><strong>Sylvia Cunningham:<\/strong> And again, listeners should defi\u00adnitely watch this after the inter\u00adview, because as you describe it, it is this gorgeous party and there\u2019s so much laughter and so much life. I think espe\u00adcially right now, espe\u00adcially when dinner parties are basi\u00adcally a no-go during the pandemic, there\u2019s some\u00adthing espe\u00adcially entrancing about watching that.<br>[Audio from \u201cCrea\u00adtura Dada\u201d]<br>We should note, you can\u2019t hear the orig\u00adinal sound. So, it begs the ques\u00adtion, what were you all talking about. Can you describe what the sound is, what we\u2019re hearing instead and what made you not include the orig\u00adinal sound?<br><br><strong>Caroline Monnet:<\/strong> It felt like we needed to keep that secret. We can\u2019t reveal every\u00adthing because we were plan\u00adning a revo\u00adlu\u00adtion, we can\u2019t let everyone know about it, because then the plan doesn\u2019t work! And every\u00adbody\u2019s going to know about it. It\u2019s also inter\u00adesting because all this food is consid\u00adered high-end food in gastronomy, but most of it is very local, tradi\u00adtional food\u2014lobsters, oysters. I made this film after there was a big issue in the media about Indige\u00adnous women being abused by police offi\u00adcers in the Abitibi region and this film was a bit of response about coun\u00adtering the nega\u00adtive, victim\u00adized image of Indige\u00adnous people or women espe\u00adcially in the media. Women are still the most margin\u00adal\u00adized group of Cana\u00addian society. I wanted to show women as being eccen\u00adtric, beau\u00adtiful, exuberant, elegant, and raise them back on a pedestal, to raise them back to a level of royalty. That was the inten\u00adtion behind the film.<br><br><strong>Sylvia Cunningham:<\/strong> I came across this quote recently from a musi\u00adcian that the \u201cpandemic is not a resi\u00addency\u201d\u00a0or an \u201cartists retreat,\u201d in response to external or maybe self-applied pres\u00adsure to produce new work and be super creative in lock\u00addown. How has it been for you?<br><br><strong>Caroline Monnet:<\/strong> It\u2019s been a good time in terms of slowing down a little bit because as artists we\u2019re always in the stage of producing and presenting and repre\u00adsenting. To take the time to not travel as much, to reflect more on research and prep\u00adping for what\u2019s to come and reorient the work you\u2019re doing, it\u2019s been good. I was working on finishing my first feature film, which was good for me to take more of my time in post-produc\u00adtion rather than rush it and move onto the next project. I took a little bit of break and never approached it as a time of creating, it didn\u2019t really slow down for me, I had to work differ\u00adently I would say.<br><br><strong>Sylvia Cunningham:<\/strong> That feature film, \u201cBoot\u00adlegger,\u201d\u2014which you co-wrote and it won best screen\u00adplay at the Cannes Film Festival in 2017\u2014can you tell us a bit about where you are with it, also what it\u2019s about and when we can see it?<br><br><strong>Caroline Monnet:<\/strong> The film is in the final stages of post-produc\u00adtion. We shot it in December 2019 and we\u2019re just finishing it now. Hope\u00adfully we\u2019ll be able to release it a little bit later on this year, maybe this summer or next fall. But that\u2019s really out of my hands, it\u2019s the produc\u00adtion company and the rest of the people that are going to orga\u00adnize all of that. But it\u2019s exciting to be able to make a first feature film. It\u2019s a bit nerve-wracking to be doing such a project in a time of pandemic because we don\u2019t know how these films are going to end up\u2014if we\u2019re going to have people in cinemas, if we\u2019re going to have film festival premieres, is it going to end up online? And there\u2019s a little bit of a disap\u00adpoint\u00adment because you work five years on a project to have it end up online and people watch it on their screens. But it\u2019s also a different expe\u00adri\u00adence and maybe it can reach more people this way. We adapt, and there\u2019s good and bad for every\u00adthing.<br><br><strong>Sylvia Cunningham:<\/strong> The musi\u00adcian Tanya Tagaq, who provided music for \u201cMobi\u00adlize,\u201d will also be doing the music for \u201cBoot\u00adlegger,\u201d right?<br><br><strong>Caroline Monnet:<\/strong> Exactly, it\u2019s an ongoing collab\u00ado\u00adra\u00adtion. I was really happy Tanya Tagaq accepted to do the music. She worked in collab\u00ado\u00adra\u00adtion with Jean Martin, who she collab\u00ado\u00adrates with usually. I\u2019m very happy with the way it turned out and the sounds that they created together.<br><br><strong>Sylvia Cunningham:<\/strong> How do you find that the music comple\u00adments the plot and themes of \u201cBoot\u00adlegger\u201d?\u00a0<br><br><strong>Caroline Monnet:<\/strong> \u201cBoot\u00adlegger\u201d is about self-deter\u00admi\u00adna\u00adtion and taking destiny in your own hands, breaking away from pater\u00adnal\u00adistic laws. The music is about the connec\u00adtion to land, terri\u00adtory, wanting to break free. Tanya Tagaq has the perfect sound and energy for these things. It\u2019s this longing for self-deter\u00admi\u00adna\u00adtion, so I was really happy with the merging of my visuals with that music.<br><br><strong>Sylvia Cunningham:<\/strong> You work on multiple projects at once. Do you find the ideas that you\u2019re working through in one piece will kind of find their way into another? Or do you keep them very sepa\u00adrate?<br><br><strong>Caroline Monnet:<\/strong> It\u2019s very ebb and flow, I don\u2019t plan anything in advance. I feel that each project leads to the next one, and my prac\u00adtice is quite instinc\u00adtive. It\u2019s about exper\u00adi\u00admenting with the work but also with myself and hoping to evolve as an indi\u00advidual and making sure that the work evolves with each project. Working with different disci\u00adplines keeps me on my toes, it keeps me invested and inter\u00adested. Also, it keeps me outside of my comfort zone, and I think that\u2019s where I can grow as an artist and a person, where I can learn. But the themes and the issues and the way I approach each project is the same, my level of interest is the same, and there\u2019s always social engage\u00adment. I studied soci\u00adology, so there\u2019s always a lot of social back\u00adground to each project that I do, whether it\u2019s in visual or sculp\u00adtural form or video form. It\u2019s always very present, that kind of soci\u00adology back\u00adground. It\u2019s very research-based and visual. Even in film\u00admaking, there\u2019s not that many dialogues,\u00a0no too many words. It\u2019s about creating an expe\u00adri\u00adence, an emotional expe\u00adri\u00adence with as little words as possible. It\u2019s a minimal approach.<br><br><strong>Sylvia Cunningham:<\/strong> This year, you\u2019ll have your first solo exhi\u00adbi\u00adtion at the Montreal Museum of Fine Arts. Can you share with us what you&#8217;re working on for that?<br><br><strong>Caroline Monnet:<\/strong> Yes, the show will be titled \u201cNinga M\u00ecn\u00e8h.\u201d It\u2019s a word in Anishi\u00adnaabe\u00admowin which means \u201cI give it to you\u201d or it\u2019s the word we use for \u201cpromise.\u201d\u00a0I looked\u00a0at the housing situ\u00ada\u00adtion in Indige\u00adnous commu\u00adni\u00adties that have remained griev\u00adously unchanged over the years. In remote regions with harsh winters, construc\u00adtion mate\u00adrials can be scarce and very expen\u00adsive. They\u2019re not very adapted to the envi\u00adron\u00adment there in the north, so there\u2019s a housing crisis. I wanted to speak about that and the lack of vision from the Cana\u00addian govern\u00adment. I believe that we make our houses and our houses make us, so if we use cheap mate\u00adrials and if there\u2019s lingering mois\u00adture that creates mold, that defi\u00adnitely affects our mental, phys\u00adical, and spir\u00adi\u00adtual health. I think houses should be treated as living bodies, so the entire exhi\u00adbi\u00adtion is about that, it\u2019s using construc\u00adtion mate\u00adrial with embed\u00adding tradi\u00adtional-inspired designs. It\u2019s about taking a look at how the federal housing system has been an agent in creating poverty in these commu\u00adni\u00adties and what we can do. Offering or hoping to open a dialogue about it.<br><br><strong>Sylvia Cunningham:<\/strong> If we make our houses and our houses make us, how do you think your house makes you and how do you make it? Do you think you apply that person\u00adally to how you build your home?<br><br><strong>Caroline Monnet:<\/strong> Yes, absolutely. I put a lot of care in my envi\u00adron\u00adment. I really believe we affect the envi\u00adron\u00adment around us and the envi\u00adron\u00adment affects us. We always imagine the people repre\u00adsenting the places they live in, but in the case of certain Indige\u00adnous commu\u00adni\u00adties, I don\u2019t think that\u2019s true. I think there\u2019s a lack of resources to create proper homes. This exhi\u00adbi\u00adtion wants to break those precon\u00adcep\u00adtions and break those nega\u00adtive stereo\u00adtypes. In my case, right now my studio is quite busy, but usually it\u2019s pretty orga\u00adnized and clean. Every time I start a new project, I\u2019ll make sure that I do a clean-up, just to have that mental space to clear things up. I don\u2019t like clutter, but that\u2019s me. I mean other people are comfort\u00adable with that. I person\u00adally need some white walls to be able to imagine other things.<br><br><strong>Sylvia Cunningham:<\/strong> Caro\u00adline Monnet, multi\u00addis\u00adci\u00adpli\u00adnary artist whose works, \u201cMobi\u00adlize\u201d and \u201cTransat\u00adlantic\u201d are on display at the Schirn. Thank you so much for joining me.<br><br><strong>Caroline Monnet:<\/strong> Oh, my plea\u00adsure.<br><br>Some of the artists and film\u00admakers Caro\u00adline Monnet says inspire her include:\u00a0Teresa Margolles, Lisa Reihana, Maya Deren, Theaster Gates and Apichat\u00adpong Weerasethakul.<div class=\"col-sm-8 \" data-el-commentable=\"1\" id=\"C63190\" style=\"margin: 0px; padding: 0px; border: 0px; font: inherit; vertical-align: baseline; position: relative; min-height: 1px; float: left; width: 690px;\"><div class=\"content-footer\" style=\"margin: 0px 0px 2rem; padding: 0px; border: 0px; font: inherit; vertical-align: baseline;\"><div class=\"rich-text-format\" data-commentable=\"1\" style=\"margin: 0px; padding: 0px; border: 0px; font-variant-ligatures: normal; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-variant-alternates: inherit; font-variant-position: inherit; font-variant-emoji: inherit; font-stretch: inherit; font-size: 16px; line-height: inherit; 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  \">\n\t<div class=\"height-container-contents lazy-media-contents\">\n\t\n\t<div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\t<lazy-media-inline inline-template>\n\t\t<div>\n\t\t\t<lazy-media :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\" v-if=\"sizes\"><\/lazy-media>\n\t\t<\/div>\n\t<\/lazy-media-inline>\n\t\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-8 related-sticky-teaser-content'>\n\n<div  class='padding-bottom-2'>\t<p class='ho-sd-category-small'>\u00c4hnlicher Artikel<\/p>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\"><h3 class=\"ho-sd-teaser-headline-small\">Critical land. Perspectives on climate change<\/h3><\/div>\n<\/div>\n<\/div>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline toggle-optional-button' data-pattern='ho\/text-magazin-exkurs-option-button'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row center-xs'>\n\n<div  class='col col-xs-12 col-md-7'>\n\n<div  class='mag-exkurs container-fluid padding-top-5 padding-bottom-5 cf-side-7 cf-gutter-1'>\n\n<div  class='padding-bottom-4 ho-pattern-optional-headline'>\n<h2 class='ho-sd-mag-h5' style=\"white-space: normal;\">Critical land<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body-medium'>In the podcast series \u201cCritical land\u201d along\u00adside the current exhi\u00adbi\u00adtion \u201cMagnetic north\u201d, Sylvia Cunningham talks with <a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/critical-land-mythos-der-unberuehrten-natur-2\/\" data-type=\"magazin-artikel\" data-id=\"16117\">SCHIRN curator Martina Wein\u00adhart, art histo\u00adrian Prof. Carmen Robertson<\/a>, artist Caro\u00adline Monnet, and scholar, philoso\u00adpher, and entre\u00adpre\u00adneur <a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/critical-land-perspektiven-zum-klimawandel-2\/\" data-type=\"magazin-artikel\" data-id=\"16059\">Jocelyn Joe-Strack<\/a> about Cana\u00addian modernist painting, contem\u00adpo\u00adrary art in times of decol\u00ado\u00adniza\u00adtion, and Cree writer <a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/critical-land-sprache-schafft-veraenderung-2\/\" data-type=\"magazin-artikel\" data-id=\"16049\">Jessica Johns<\/a> the rela\u00adtion\u00adship of land vs. land\u00adscape, and climate change from Indige\u00adnous perspec\u00adtives. In English.<\/p>\n<\/div>\n\n\n\n\n<div  class='ho-pattern-optional-button padding-top-4'>\n\n<div  class='wp-block-ho-buttons wp-block-ho-buttons flex-layout-align-center mobile-flex-layout-align-center'>\n<div class=\"wp-block-ho-buttons-item\">\n\t<a href=\"\"  target=\"\" role=\"button\" aria-pressed=\"false\" rel=\"nofollow\" class=\"ho-button is-primary\">\n\t\t\t\t<span class=\"ho-button-label \">Lorem Ipsum<\/span>\n\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div class=\"structure-content-color\" style=\"--content-color-foreground: var(--color-fg-text-black);--content-color-background: var(--color-highlight-highlight-02);color: var(--color-fg-text-black);background: var(--color-highlight-highlight-02);\">\n<div class='structure-content-color-content'><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-linkliste-horizontal'>\n\n<div  class='margin-bottom-7'>\n\n<div  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: \"\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2024\\\/12\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:46.041666666667%;   \">\n\t<div class=\"height-container-contents lazy-media-contents\">\n\t\n\t<div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\n<div class=\"lazy-media loaded\">\n\t<img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final.jpg 1920w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final-300x138.jpg 300w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final-1024x471.jpg 1024w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final-768x354.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final-1536x707.jpg 1536w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final-440x203.jpg 440w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final-580x267.jpg 580w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final-720x332.jpg 720w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/12\/CriticalLand2_Final-1280x589.jpg 1280w\" sizes=\"(max-width: 763px) 100vw, (qmin-width: 764px) and (max-width: 1023px) 100vw, (min-width: 1024px) 100vw\" alt=\"\" loading=\"lazy\" \/>\n<\/div>\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div class=\"wp-block-ho-div\"><figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Caroline Monnet<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Oriana Fenwick<\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline toggle-optional-copy' data-pattern='ho\/autoteaser-magazin-grid-4er-option-headline-text'>\n\n<div  class='ho-pattern-optional-headline'>\n\n<div  class='container-fluid'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-5'>\n\n<div class=\"wp-block-ho-div\">\n\n<div  class='margin-bottom-4'>\n<h3 class='ho-sd-h3' style=\"white-space: normal;\">You may also like<\/h3>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12 col-md-6 col-md-offset-1 ho-pattern-optional-text'>\n\n<div class=\"wp-block-ho-div\">\n\n<div  class='margin-bottom-4'>\t<p>Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wp-block-ho-slot \">\n<section class='wp-block-ho-pattern toggle-optional-headline' data-pattern='ho\/teaser-mag-grid-4er-optional-headline'><div  class='ho-pattern-optional-headline'><div  class='container-fluid'><div  class='row'><div  class='col col-xs-12'><div  class='margin-bottom-3'><h3 class='ho-sd-mag-h3' style=\"white-space: normal;\">Lorem ipsum dolor sit<\/h3><\/div><\/div><\/div><\/div><\/div><div  class='margin-bottom-5'><div class=\"wp-block-ho-lane-wrapper\" data-orientation=\"horizontal\" data-lane-item-count=\"8\"><div class=\"container-fluid \"><ul class=\"wp-block wp-block-ho-grid row\"><li class=\"wp-block-ho-lane-item col margin-bottom-5 col-md-3 col-xs-6\"><a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/future-of-yesterday-a-glimpse-into-todays-sxe-and-hardcore-culture\/\" class=\"wp-block-ho-teaser teaser teaser-magazin-artikel \"><div  class='magazine-teaser'><div class=\"wp-block-ho-post-image \"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d77e9d1ca28\"><script type=\"application\/json\">{\n\"id\" : 45396,\n\"sizes\" : 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: \"A young person presents a cassette titled &quot;The Future of Yesterday&quot; in a creative design.\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2025\\\/12\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script><div class=\"height-container \" style=\"padding-bottom:56.253968253968%;   \"><div class=\"height-container-contents lazy-media-contents\"><div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-1920x1080.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-1920x1080.jpg 1920w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-300x169.jpg 300w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-1024x576.jpg 1024w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-768x432.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-1536x864.jpg 1536w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-2048x1152.jpg 2048w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-440x248.jpg 440w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-580x326.jpg 580w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-720x405.jpg 720w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday_3-1280x720.jpg 1280w\" sizes=\"(max-width: 763px) 50vw, (min-width: 764px) and (max-width: 1023px) 25vw, (min-width: 1024px) 25vw\" alt=\"A young person presents a cassette titled &quot;The Future of Yesterday&quot; in a creative design.\" loading=\"lazy\" \/><\/div><\/div><\/div><\/figure><\/div><div class=\"wp-block-ho-slot \"><\/div><\/div><div  class='padding-top-3'><div  class='margin-bottom-2 ho-tag-group'><div class=\"is-primary is-small\"><span class=\"ho-tag is-primary is-small\"><span class=\"ho-tag-label\">Context<\/span><\/span><\/div><\/div><h3 class=\"ho-sd-mag-h5 hyphen\">Future of Yesterday. A Glimpse into Today\u2019s sXe and Hardcore Culture<\/h3><\/div><\/a><\/li><li class=\"wp-block-ho-lane-item col margin-bottom-5 col-md-3 col-xs-6\"><a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/the-film-to-the-exhibition-thomas-bayrle\/\" class=\"wp-block-ho-teaser teaser teaser-magazin-artikel \"><div  class='magazine-teaser'><div class=\"wp-block-ho-post-image \"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d77e9d1f19b\"><script type=\"application\/json\">{\n\"id\" : 48216,\n\"sizes\" : 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: \"Modern art gallery featuring displayed tapestries and paintings in creative patterns and vibrant colors.\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2026\\\/02\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script><div class=\"height-container \" style=\"padding-bottom:75.02116850127%;   \"><div class=\"height-container-contents lazy-media-contents\"><div class=\"lazy-media-preview\" style=\"background-image: 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-1920x1440.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-1920x1440.jpg 1920w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-300x225.jpg 300w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-1024x768.jpg 1024w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-768x576.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-1536x1152.jpg 1536w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-2048x1536.jpg 2048w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-440x330.jpg 440w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-580x435.jpg 580w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-720x540.jpg 720w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/Schirn_Presse_Bayrle_Ausstellungsansicht_c_Norbert_Miguletz_1-1280x960.jpg 1280w\" sizes=\"(max-width: 763px) 50vw, (min-width: 764px) and (max-width: 1023px) 25vw, (min-width: 1024px) 25vw\" alt=\"Modern art gallery featuring displayed tapestries and paintings in creative patterns and vibrant colors.\" loading=\"lazy\" \/><\/div><\/div><\/div><\/figure><\/div><div class=\"wp-block-ho-slot \"><slot-teaser-autoplay inline-template><div class=\"slot-teaser-autoplay\"><video autoplay muted playsinline loop data-src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/03\/Baylre-Teaser_komprimiert.mp4\"><\/video><\/div><\/slot-teaser-autoplay><\/div><\/div><div  class='padding-top-3'><div  class='margin-bottom-2 ho-tag-group'><div class=\"is-primary is-small\"><span class=\"ho-tag is-primary is-small\"><span class=\"ho-tag-label\">Context<\/span><\/span><\/div><\/div><h3 class=\"ho-sd-mag-h5 hyphen\">The film to the exhibition: Thomas Bayrle<\/h3><\/div><\/a><\/li><li class=\"wp-block-ho-lane-item col margin-bottom-5 col-md-3 col-xs-6\"><a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/strike-a-pose-on-the-performativity-of-musical-cultures\/\" class=\"wp-block-ho-teaser teaser teaser-magazin-artikel \"><div  class='magazine-teaser'><div class=\"wp-block-ho-post-image \"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d77e9d2208e\"><script type=\"application\/json\">{\n\"id\" : 48951,\n\"sizes\" : 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On the performativity of musical cultures<\/h3><\/div><\/a><\/li><li class=\"wp-block-ho-lane-item col margin-bottom-5 col-md-3 col-xs-6\"><a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/the-film-to-the-exhibition-barbara-wagner-benjamin-de-burca\/\" class=\"wp-block-ho-teaser teaser teaser-magazin-artikel \"><div  class='magazine-teaser'><div class=\"wp-block-ho-post-image \"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d77e9d251b3\"><script type=\"application\/json\">{\n\"id\" : 48756,\n\"sizes\" : {\"medium\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-203x300.jpg\",\"width\":203,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":17963},\"large\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-692x1024.jpg\",\"width\":692,\"height\":1024,\"mime-type\":\"image\\\/jpeg\",\"filesize\":155325},\"medium_large\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-768x1136.jpg\",\"width\":768,\"height\":1136,\"mime-type\":\"image\\\/jpeg\",\"filesize\":189072},\"1536x1536\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-1039x1536.jpg\",\"width\":1039,\"height\":1536,\"mime-type\":\"image\\\/jpeg\",\"filesize\":341336},\"2048x2048\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-1385x2048.jpg\",\"width\":1385,\"height\":2048,\"mime-type\":\"image\\\/jpeg\",\"filesize\":587214},\"small\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-298x440.jpg\",\"width\":298,\"height\":440,\"mime-type\":\"image\\\/jpeg\",\"filesize\":33552},\"semi\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-392x580.jpg\",\"width\":392,\"height\":580,\"mime-type\":\"image\\\/jpeg\",\"filesize\":54117},\"mobile\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-487x720.jpg\",\"width\":487,\"height\":720,\"mime-type\":\"image\\\/jpeg\",\"filesize\":79614},\"hd\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-866x1280.jpg\",\"width\":866,\"height\":1280,\"mime-type\":\"image\\\/jpeg\",\"filesize\":240733},\"full\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1-1298x1920.jpg\",\"width\":1298,\"height\":1920,\"mime-type\":\"image\\\/jpeg\",\"filesize\":521239},\"original\":{\"file\":\"26_002_FINNWALDHERR_R1-08086-004A-1.jpg\",\"width\":2220,\"height\":3283}},\n\"alt\" : \"Two people stand in a room wearing fashionable, casual clothing. The background is minimalist and bright.\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2026\\\/02\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script><div class=\"height-container \" style=\"padding-bottom:147.88288288288%;   \"><div class=\"height-container-contents lazy-media-contents\"><div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-1298x1920.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-1298x1920.jpg 1298w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-203x300.jpg 203w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-692x1024.jpg 692w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-768x1136.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-1039x1536.jpg 1039w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-1385x2048.jpg 1385w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-298x440.jpg 298w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-392x580.jpg 392w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-487x720.jpg 487w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/26_002_FINNWALDHERR_R1-08086-004A-1-866x1280.jpg 866w\" sizes=\"(max-width: 763px) 50vw, (min-width: 764px) and (max-width: 1023px) 25vw, (min-width: 1024px) 25vw\" alt=\"Two people stand in a room wearing fashionable, casual clothing. The background is minimalist and bright.\" loading=\"lazy\" \/><\/div><\/div><\/div><\/figure><\/div><div class=\"wp-block-ho-slot \"><slot-teaser-autoplay inline-template><div class=\"slot-teaser-autoplay\"><video autoplay muted playsinline loop data-src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/02\/TZeaser-WdB-cut_klein.mp4\"><\/video><\/div><\/slot-teaser-autoplay><\/div><\/div><div  class='padding-top-3'><div  class='margin-bottom-2 ho-tag-group'><div class=\"is-primary is-small\"><span class=\"ho-tag is-primary is-small\"><span class=\"ho-tag-label\">Context<\/span><\/span><\/div><\/div><h3 class=\"ho-sd-mag-h5 hyphen\">The film to the exhibition: B\u00e1rbara Wagner &amp; Benjamin de Burca<\/h3><\/div><\/a><\/li><li class=\"wp-block-ho-lane-item col margin-bottom-5 col-md-3 col-xs-6\"><a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/bald-in-der-schirn-thomas-bayrle-froehlich-sein\/\" class=\"wp-block-ho-teaser teaser teaser-magazin-artikel \"><div  class='magazine-teaser'><div class=\"wp-block-ho-post-image \"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d77e9d28273\"><script type=\"application\/json\">{\n\"id\" : 33835,\n\"sizes\" : {\"medium\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-300x300.jpg\",\"width\":300,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":46246},\"large\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-1024x1021.jpg\",\"width\":1024,\"height\":1021,\"mime-type\":\"image\\\/jpeg\",\"filesize\":440920},\"medium_large\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-768x766.jpg\",\"width\":768,\"height\":766,\"mime-type\":\"image\\\/jpeg\",\"filesize\":260174},\"1536x1536\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-1536x1532.jpg\",\"width\":1536,\"height\":1532,\"mime-type\":\"image\\\/jpeg\",\"filesize\":905770},\"2048x2048\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-2048x2042.jpg\",\"width\":2048,\"height\":2042,\"mime-type\":\"image\\\/jpeg\",\"filesize\":1463706},\"small\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-440x440.jpg\",\"width\":440,\"height\":440,\"mime-type\":\"image\\\/jpeg\",\"filesize\":93103},\"semi\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-580x578.jpg\",\"width\":580,\"height\":578,\"mime-type\":\"image\\\/jpeg\",\"filesize\":156813},\"mobile\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-720x718.jpg\",\"width\":720,\"height\":718,\"mime-type\":\"image\\\/jpeg\",\"filesize\":230983},\"hd\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-1280x1276.jpg\",\"width\":1280,\"height\":1276,\"mime-type\":\"image\\\/jpeg\",\"filesize\":657747},\"full\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019-1920x1914.jpg\",\"width\":1920,\"height\":1914,\"mime-type\":\"image\\\/jpeg\",\"filesize\":1320160},\"original\":{\"file\":\"Schirn_Presse_Bayrle_Roll_over_Smartfon_I_2019.jpg\",\"width\":3125,\"height\":3116}},\n\"alt\" : \"\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2025\\\/02\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script><div class=\"height-container \" style=\"padding-bottom:99.712%; 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Be Happy!<\/h3><\/div><\/a><\/li><li class=\"wp-block-ho-lane-item col margin-bottom-5 col-md-3 col-xs-6\"><a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/bald-in-der-schirn-barbara-wagner-benjamin-de-burca-the-tunnels-we-dig\/\" class=\"wp-block-ho-teaser teaser teaser-magazin-artikel \"><div  class='magazine-teaser'><div class=\"wp-block-ho-post-image \"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d77e9d2dd92\"><script type=\"application\/json\">{\n\"id\" : 45394,\n\"sizes\" : {\"medium\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-300x169.jpg\",\"width\":300,\"height\":169,\"mime-type\":\"image\\\/jpeg\",\"filesize\":12250},\"large\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-1024x576.jpg\",\"width\":1024,\"height\":576,\"mime-type\":\"image\\\/jpeg\",\"filesize\":87262},\"medium_large\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-768x432.jpg\",\"width\":768,\"height\":432,\"mime-type\":\"image\\\/jpeg\",\"filesize\":54292},\"1536x1536\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-1536x864.jpg\",\"width\":1536,\"height\":864,\"mime-type\":\"image\\\/jpeg\",\"filesize\":176587},\"2048x2048\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-2048x1152.jpg\",\"width\":2048,\"height\":1152,\"mime-type\":\"image\\\/jpeg\",\"filesize\":296526},\"small\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-440x248.jpg\",\"width\":440,\"height\":248,\"mime-type\":\"image\\\/jpeg\",\"filesize\":22251},\"semi\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-580x326.jpg\",\"width\":580,\"height\":326,\"mime-type\":\"image\\\/jpeg\",\"filesize\":34952},\"mobile\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-720x405.jpg\",\"width\":720,\"height\":405,\"mime-type\":\"image\\\/jpeg\",\"filesize\":49251},\"hd\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-1280x720.jpg\",\"width\":1280,\"height\":720,\"mime-type\":\"image\\\/jpeg\",\"filesize\":127731},\"full\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday-1920x1080.jpg\",\"width\":1920,\"height\":1080,\"mime-type\":\"image\\\/jpeg\",\"filesize\":264214},\"original\":{\"file\":\"Schirn_Presse_Wagner_DeBurca_Filmstill_Future_of_Yesterday.jpg\",\"width\":3150,\"height\":1772}},\n\"alt\" : \"A young man plays electric guitar in a garage surrounded by cars and equipment, with dim lighting.\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2025\\\/12\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script><div class=\"height-container \" style=\"padding-bottom:56.253968253968%; 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Benjamin de Burca. The Tunnels We Dig<\/h3><\/div><\/a><\/li><li class=\"wp-block-ho-lane-item col margin-bottom-5 col-md-3 col-xs-6\"><a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/schirn-questionnaire-rosa-barba\/\" class=\"wp-block-ho-teaser teaser teaser-magazin-artikel \"><div  class='magazine-teaser'><div class=\"wp-block-ho-post-image \"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d77e9d30bde\"><script type=\"application\/json\">{\n\"id\" : 46153,\n\"sizes\" : {\"medium\":{\"file\":\"Schirn_Presse_Portrait_Rosa_Barba-300x278.jpg\",\"width\":300,\"height\":278,\"mime-type\":\"image\\\/jpeg\",\"filesize\":21991},\"large\":{\"file\":\"Schirn_Presse_Portrait_Rosa_Barba-1024x948.jpg\",\"width\":1024,\"height\":948,\"mime-type\":\"image\\\/jpeg\",\"filesize\":151854},\"medium_large\":{\"file\":\"Schirn_Presse_Portrait_Rosa_Barba-768x711.jpg\",\"width\":768,\"height\":711,\"mime-type\":\"image\\\/jpeg\",\"filesize\":97499},\"small\":{\"file\":\"Schirn_Presse_Portrait_Rosa_Barba-440x407.jpg\",\"width\":440,\"height\":407,\"mime-type\":\"image\\\/jpeg\",\"filesize\":40400},\"semi\":{\"file\":\"Schirn_Presse_Portrait_Rosa_Barba-580x537.jpg\",\"width\":580,\"height\":537,\"mime-type\":\"image\\\/jpeg\",\"filesize\":63432},\"mobile\":{\"file\":\"Schirn_Presse_Portrait_Rosa_Barba-720x667.jpg\",\"width\":720,\"height\":667,\"mime-type\":\"image\\\/jpeg\",\"filesize\":88803},\"hd\":{\"file\":\"Schirn_Presse_Portrait_Rosa_Barba-1280x1185.jpg\",\"width\":1280,\"height\":1185,\"mime-type\":\"image\\\/jpeg\",\"filesize\":211288},\"original\":{\"file\":\"Schirn_Presse_Portrait_Rosa_Barba.jpg\",\"width\":1500,\"height\":1389}},\n\"alt\" : \"Woman with long, dark hair, a thoughtful expression, and red lips, wearing a checkered top.\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2026\\\/01\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script><div class=\"height-container \" style=\"padding-bottom:92.6%; 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/01\/Schirn_Presse_Portrait_Rosa_Barba.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/01\/Schirn_Presse_Portrait_Rosa_Barba.jpg 1500w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/01\/Schirn_Presse_Portrait_Rosa_Barba-300x278.jpg 300w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/01\/Schirn_Presse_Portrait_Rosa_Barba-1024x948.jpg 1024w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/01\/Schirn_Presse_Portrait_Rosa_Barba-768x711.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/01\/Schirn_Presse_Portrait_Rosa_Barba-440x407.jpg 440w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/01\/Schirn_Presse_Portrait_Rosa_Barba-580x537.jpg 580w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/01\/Schirn_Presse_Portrait_Rosa_Barba-720x667.jpg 720w, https:\/\/www.schirn.de\/wp-content\/uploads\/2026\/01\/Schirn_Presse_Portrait_Rosa_Barba-1280x1185.jpg 1280w\" sizes=\"(max-width: 763px) 50vw, (min-width: 764px) and (max-width: 1023px) 25vw, (min-width: 1024px) 25vw\" alt=\"Woman with long, dark hair, a thoughtful expression, and red lips, wearing a checkered top.\" loading=\"lazy\" \/><\/div><\/div><\/div><\/figure><\/div><div class=\"wp-block-ho-slot \"><\/div><\/div><div  class='padding-top-3'><div  class='margin-bottom-2 ho-tag-group'><div class=\"is-primary is-small\"><span class=\"ho-tag is-primary is-small\"><span class=\"ho-tag-label\">Interview<\/span><\/span><\/div><\/div><h3 class=\"ho-sd-mag-h5 hyphen\">SCHIRN Questionnaire: Rosa Barba<\/h3><\/div><\/a><\/li><li class=\"wp-block-ho-lane-item col margin-bottom-5 col-md-3 col-xs-6\"><a href=\"https:\/\/www.schirn.de\/en\/schirnmag\/the-schirn-in-2026\/\" class=\"wp-block-ho-teaser teaser teaser-magazin-artikel \"><div  class='magazine-teaser'><div class=\"wp-block-ho-post-image \"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_69d77e9d3366c\"><script type=\"application\/json\">{\n\"id\" : 44564,\n\"sizes\" : {\"medium\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-300x149.jpg\",\"width\":300,\"height\":149,\"mime-type\":\"image\\\/jpeg\",\"filesize\":27151},\"large\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-1024x510.jpg\",\"width\":1024,\"height\":510,\"mime-type\":\"image\\\/jpeg\",\"filesize\":201671},\"medium_large\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-768x383.jpg\",\"width\":768,\"height\":383,\"mime-type\":\"image\\\/jpeg\",\"filesize\":128230},\"1536x1536\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-1536x765.jpg\",\"width\":1536,\"height\":765,\"mime-type\":\"image\\\/jpeg\",\"filesize\":376218},\"2048x2048\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-2048x1020.jpg\",\"width\":2048,\"height\":1020,\"mime-type\":\"image\\\/jpeg\",\"filesize\":576362},\"small\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-440x219.jpg\",\"width\":440,\"height\":219,\"mime-type\":\"image\\\/jpeg\",\"filesize\":52281},\"semi\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-580x289.jpg\",\"width\":580,\"height\":289,\"mime-type\":\"image\\\/jpeg\",\"filesize\":82346},\"mobile\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-720x359.jpg\",\"width\":720,\"height\":359,\"mime-type\":\"image\\\/jpeg\",\"filesize\":116402},\"hd\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-1280x638.jpg\",\"width\":1280,\"height\":638,\"mime-type\":\"image\\\/jpeg\",\"filesize\":285235},\"full\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-1920x957.jpg\",\"width\":1920,\"height\":957,\"mime-type\":\"image\\\/jpeg\",\"filesize\":525529},\"original\":{\"file\":\"Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025.jpg\",\"width\":3456,\"height\":1722}},\n\"alt\" : \"Colorful, surreal scenes with warrior figures, a unicorn, and imaginative characters in various poses.\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2025\\\/12\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script><div class=\"height-container \" style=\"padding-bottom:49.826388888889%; 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-1920x957.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-1920x957.jpg 1920w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-300x149.jpg 300w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-1024x510.jpg 1024w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-768x383.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-1536x765.jpg 1536w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-2048x1020.jpg 2048w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-440x219.jpg 440w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-580x289.jpg 580w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-720x359.jpg 720w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/12\/Schirn-Presse_Holly-Herndon-Mat-Dryhurst_Xhairymutantx-2024-2025-1280x638.jpg 1280w\" sizes=\"(max-width: 763px) 50vw, (min-width: 764px) and (max-width: 1023px) 25vw, (min-width: 1024px) 25vw\" alt=\"Colorful, surreal scenes with warrior figures, a unicorn, and imaginative characters in various poses.\" loading=\"lazy\" \/><\/div><\/div><\/div><\/figure><\/div><div class=\"wp-block-ho-slot \"><\/div><\/div><div  class='padding-top-3'><div  class='margin-bottom-2 ho-tag-group'><div class=\"is-primary is-small\"><span class=\"ho-tag is-primary is-small\"><span class=\"ho-tag-label\">Context<\/span><\/span><\/div><\/div><h3 class=\"ho-sd-mag-h5 hyphen\">The SCHIRN in 2026<\/h3><\/div><\/a><\/li><\/ul><\/div><\/div><\/div><\/section><\/div>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>In our new podcast series with Indigenous perspectives on art, nature, decolonisation and climate change, we talk with Algonquin-French artist Caroline Monnet.<\/p>\n","protected":false},"featured_media":16009,"template":"","meta":{"_acf_changed":false,"ho_image_focal_point":"","footnotes":""},"ho_exhibition_taxonomy":[3707],"artist":[2837],"magazin_tag":[1384,1369,1388,1382],"magazin_type":[2010],"involved":[1306,1324],"class_list":["post-16063","magazin-artikel","type-magazin-artikel","status-publish","has-post-thumbnail","hentry","ho_exhibition_taxonomy-magnetic-north-en","artist-caroline-monnet-en","magazin_tag-contemporary-art","magazin_tag-exhibition","magazin_tag-politics","magazin_tag-postcolonialism","magazin_type-podcast-en","involved-oriana-fenwick-en","involved-sylvia-cunningham-en"],"acf":{"seo_titel":"Critical Land: Indigenous Art and Identity at SCHIRN","seo_description":"Critical land. 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