{"id":12692,"date":"2022-10-17T14:31:19","date_gmt":"2022-10-17T18:31:19","guid":{"rendered":"https:\/\/alumni.cornell.edu\/cornellians\/?p=12692"},"modified":"2022-10-26T08:47:47","modified_gmt":"2022-10-26T12:47:47","slug":"2022-biennial","status":"publish","type":"post","link":"https:\/\/alumni.cornell.edu\/cornellians\/2022-biennial\/","title":{"rendered":"Cornell Biennial Turns Artistic Eyes on Planet\u2019s Uncertain Future"},"content":{"rendered":"\n

After COVID forced the 2020 show\u2019s cancellation, the popular event is back\u2014with twice as many works as in years past<\/p>\n\n\n\n

By Joe Wilensky<\/strong><\/p>\n\n\n\n

Across a swath of the Arts Quad, colorful fabric stretches between trees. Tucked next to Tjaden Hall, a semicircle of a half-dozen repurposed toilets sprout fruit crops. Inside the Johnson Museum, three robotic heads engage in real-time, computer-generated musings.<\/p>\n\n\n\n

The 2022 Cornell Biennial<\/a>\u2014a showcase of installations, artwork, and performances curated by the Cornell Council for the Arts (CCA)\u2014returned this year for its fifth iteration, following a pandemic-canceled 2020 season.<\/p>\n\n\n\n

It\u2019s the largest Biennial yet, twice the size of previous ones: the work of more than 40 invitational artists and collectives are being exhibited on a rotating schedule that began in July and runs through December.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\""UNFRAME,"
On the Arts Quad, a new take on wood framing techniques reaches skyward. <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

This year\u2019s theme\u2014\u201cFuturities, Uncertain\u201d\u2014challenged participants to imagine their visions of the world through interdisciplinary projects that draw on such fields and topics as art, biology, social justice, design, information science, and engineering.<\/p>\n\n\n\n

\u201cWe wanted to provoke a conversation that addresses the global situation we\u2019re all now in,\u201d says Timothy Murray, CCA director and the curator of the Biennial. <\/p>\n\n\n\n

\u201cCOVID, the Black Lives Matter movement, global warming, infringements on female rights and indigenous rights\u2014over the past few years, these pressure points have mushroomed in unexpected ways that overlap.\u201d<\/p>\n\n\n\n

In addition to works by 23 invited artists from 11 countries, the Biennial includes 17 Cornell-based projects<\/a> by faculty and students.<\/p>\n\n\n\n

We wanted to provoke a conversation that addresses the global situation we\u2019re all now in.<\/p>Timothy Murray<\/strong>, Biennial curator and CCA director<\/cite><\/blockquote>\n\n\n\n

The event\u2019s scope has also expanded this year, notes Murray, who is also a professor of comparative literature and literatures in English in the College of Arts and Sciences. <\/p>\n\n\n\n

Cornell Tech is participating for the first time, with two commissioned digital artworks on display on its New York City campus. <\/p>\n\n\n\n

And the CCA teamed up with Ithaca\u2019s Cherry Arts collective to host an Upstate regional competition with the related theme \u201cLocal Futurities.\u201d <\/p>\n\n\n\n

Notable Biennial events include \u201cCeaseless Waves,\u201d a visual and auditory performance in Sage Chapel (hosted by MFA candidate Esther Kondo Heller) that featured several poets and sound artists. <\/p>\n\n\n\n

In \u201cTo Rent or Own: On Benefits Absolute and Vulgar,\u201d author and poet Wendy Walters, MFA \u201995, PhD \u201900, gave a literary reading on themes of race and social justice.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Scenes from the Biennial<\/h2>\n\n\n\n
<\/div>
<\/div><\/div>
\""The
Three animatronic heads enliven a sculpture.\n<\/figcaption><\/figure>
\""Libe
\u201cLibe Slope Wild Garden\u201d<\/figcaption><\/figure>
\""Immersive
Data about pandemic frontline workers becomes immersive art.<\/figcaption><\/figure>
\""Circulating
Wood from a demolished Collegetown house, reused in an outdoor installation.<\/figcaption><\/figure>
\""Freshkills"
Photographs document the transformation of a landfill on Staten Island into an urban park.<\/figcaption><\/figure>
\""Cornell
In \u201cCornell Sage Knoll,\u201d soil-stabilizing structures grow into art.<\/figcaption><\/figure>
\""Armadillos,"
\u201cArmadillos (Little Armored Ones)\u201d on Ho Plaza.<\/figcaption><\/figure><\/div>
<\/div><\/section>\n\n\n\n

Among the more unconventional installations is one that could be taken for the work of nature. \u201cLibe Slope Wild Garden\u201d comprises plantings of flowers, grasses, and seed pods by Matthew Dallos, MA \u201920, a grad student in history, that has been growing on the Slope since early 2020. <\/p>\n\n\n\n

The Arts Quad boasts two large structures built by architecture faculty and researchers\u2014works that explore new methods of wood reuse, recycling, and reconfiguration. <\/p>\n\n\n\n

At the Johnson Museum, A.D. White Professor-at-Large Xu Bing has interpreted, in shadowbox form, a classical Chinese ink painting from the museum\u2019s collection. <\/p>\n\n\n\n

And in the Martha Van Rensselaer Gallery, a multimedia work projected the faces of frontline workers onto the walls, over representations of data charting the impact of the pandemic. <\/p>\n\n\n\n

Created by So-Yeon Yoon, associate professor of design and environmental analysis, it\u2019s titled \u201cImmersive Portraits of COVID: [Pause].\u201d<\/p>\n\n\n\n

Other highlights include:<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

\u2018At What Point Does the World Unfold?\u2019<\/strong><\/h2>\n\n\n\n

The fabric installation on the Arts Quad, by artist Sara Jiminez, takes the main architectural elements of Beaux-Arts-style Goldwin Smith Hall and abstracts them. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\""At
Elements of Goldwin Smith Hall, abstracted and reimagined in fabric.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

The translucent but brightly colored textiles are printed with floral patterns that evoke some of the local species that once filled the landscape before the campus was built. <\/p>\n\n\n\n

The piece is also meant to prompt questioning of the history of the building, and the 19th-century professor for whom it is named.<\/p>\n\n\n\n

\u2018Cornell Sage Knoll\u2019<\/strong><\/h2>\n\n\n\n

A small hill near Day Hall played host to this work, shaped like Cayuga Lake and utilizing geocells\u2014forms designed to stabilize soil by replicating the support that plant roots provide\u2014as building blocks. <\/p>\n\n\n\n

The work of landscape architecture professor Jennifer Birkeland and NYC-based architect Jonathan Scelsa, it explored the effects of current and future erosion on the lakebed and its connected watersheds.<\/p>\n\n\n\n

\u2018Waste Not\u2019<\/strong><\/h2>\n\n\n\n

Two members of the Class of \u201922 teamed up to create one of the Biennial\u2019s most striking installations. <\/p>\n\n\n\n

Former plant science major Isabella Culotta (now working as a researcher on campus) and Mat\u00e9a LeBeau, an art major who\u2019ll graduate in December, used six reclaimed toilets to make a living sculpture in the rock garden near Tjaden Hall. <\/p>\n\n\n\n

\"The
Culotta (left) and LeBeau tend to their creation.<\/figcaption><\/figure><\/div>\n\n\n\n

They used recycled human waste, turned into biochar, to grow an edible garden in a safe soil media. (Volunteers provided the, er, \u201craw material\u201d for the project.)<\/p>\n\n\n\n

They aimed for the installation to break through taboos, challenge perceptions of waste, and demystify adaptive solutions to sewage treatment.<\/p>\n\n\n\n

\u2018The Animal, Vegetable, Mineralness of Everything\u2019 <\/strong><\/h2>\n\n\n\n

An installation in the Johnson Museum\u2019s entrance hall includes three identical, human-looking heads (each a self-portrait of their creator, artist Ken Feingold) mounted on robot arms and guided by artificial intelligence. <\/p>\n\n\n\n

The heads blink their eyes, gaze at the sculpture that connects them, and engage in real-time dialogue\u2014displaying distinct personalities, discussing their fears, and openly wondering about their curious situation.<\/p>\n\n\n\n

\u2018Armadillos (Little Armored Ones)\u2019 <\/strong><\/h2>\n\n\n\n

<\/p>\n\n\n\n

\""Armadillos,"
Larger-than-life puppets on parade.<\/figcaption><\/figure>
\n

<\/p>\n\n\n\n

Employing large-scale puppetry, it used the armadillo as its muse and model in parsing interconnected themes of migration, climate change, and indigenous roots. <\/p>\n\n\n\n

(Native to Latin America, armadillos have been increasingly traveling northward into the U.S. due to warming temperatures.)<\/p>\n<\/div><\/div>\n\n\n\n

Juan Manuel Aldape Mu\u00f1oz, assistant professor of performance and media arts, brought together puppeteers, storytellers, and other performers for a performance on Ho Plaza.<\/p>\n\n\n\n

Top: Video scenes of the 2022 Biennial<\/em>, by Cornell University<\/em>. All images in this story by Cornell University photographers No\u00ebl Heaney and Ryan Young.<\/em><\/p>\n\n\n\n

Published October 17, 2022<\/p>\n\n\n\n

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