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Uprooting
Budapest Gallery
14 February – 13 April 2025
Pol Esteve Castelló - Gerard Ortín Castellví, Fuzzy Earth, Daniella Grinberg, Dániel Máté, Rita Süveges, Tomáš Uhnák and Asia Dér - Tamás Kaszás - Asunción Molinos Gordo
Curated by Mátyás Horváth
Uprooting is an attempt to demonstrate the correlations within the complex production system of agriculture and its impact on the environment and society, by blending the perspectives of social, natural and environmental sciences. On the one hand, the exhibiting artists expressively convey the complex economic discourse by means of visual arts, imbuing their works with their own research, personal experiences, or activism. On the other hand, some of the works also present a potential local alternative to the globalised system of industrial agriculture, involving agro-ecological farmers who shape their agricultural production in terms of ecological, social and economic sustainability. The title of the exhibition refers at once to the drastic environmental destruction caused by the economy and to the radical gesture against the unlivable system delineated by the works, but also to the manual labour performed by the farmers.
Evoking three enlarged microscope slides, Daniella Grinberg’s installation Parallax explores soil depletion as a consequence of modern agricultural technologies. The first slide shows desertified farmlands with root studies by American botanist John E. Weaver, whose research focuses on the fundamentals of organic farming, with a special focus on the regenerative effects of diversified crop production on the soil as opposed to monoculture farming, which ignores the exhaustability of nature and focuses solely on the short-term benefits of cheap resources. The graph on the second slide visualises the growth speed of crops treated with fertiliser on exhausted land. The photos beneath the graph show different elements of modern agricultural irrigation systems. Irrigation plays a vital role in increasing or stabilising crop yields, but over-irrigation and lack of drainage can make the soil infertile and wash aways fertilisers and chemicals, further polluting the environment. The figure on the third slide illustrates the relationship between intensive fertiliser use and soil depletion. The photographs below the figure capture the practice of vertical farming, which moves the growing of crops from the over-fertilised, exhausted soil into the air. Indeed, hardwood bark and sawdust are all that is needed to grow the mushrooms in the picture.
By magnifying microscopic processes that are invisible to the human eye, the installation aims to demonstrate the complex interrelationships across scientific disciplines that, despite their invisibility, have a significant impact on the relationship between agricultural land and productivity-focused agricultural practices.
Budapest Gallery
14 February – 13 April 2025
Pol Esteve Castelló - Gerard Ortín Castellví, Fuzzy Earth, Daniella Grinberg, Dániel Máté, Rita Süveges, Tomáš Uhnák and Asia Dér - Tamás Kaszás - Asunción Molinos Gordo
Curated by Mátyás Horváth
Uprooting is an attempt to demonstrate the correlations within the complex production system of agriculture and its impact on the environment and society, by blending the perspectives of social, natural and environmental sciences. On the one hand, the exhibiting artists expressively convey the complex economic discourse by means of visual arts, imbuing their works with their own research, personal experiences, or activism. On the other hand, some of the works also present a potential local alternative to the globalised system of industrial agriculture, involving agro-ecological farmers who shape their agricultural production in terms of ecological, social and economic sustainability. The title of the exhibition refers at once to the drastic environmental destruction caused by the economy and to the radical gesture against the unlivable system delineated by the works, but also to the manual labour performed by the farmers.
Evoking three enlarged microscope slides, Daniella Grinberg’s installation Parallax explores soil depletion as a consequence of modern agricultural technologies. The first slide shows desertified farmlands with root studies by American botanist John E. Weaver, whose research focuses on the fundamentals of organic farming, with a special focus on the regenerative effects of diversified crop production on the soil as opposed to monoculture farming, which ignores the exhaustability of nature and focuses solely on the short-term benefits of cheap resources. The graph on the second slide visualises the growth speed of crops treated with fertiliser on exhausted land. The photos beneath the graph show different elements of modern agricultural irrigation systems. Irrigation plays a vital role in increasing or stabilising crop yields, but over-irrigation and lack of drainage can make the soil infertile and wash aways fertilisers and chemicals, further polluting the environment. The figure on the third slide illustrates the relationship between intensive fertiliser use and soil depletion. The photographs below the figure capture the practice of vertical farming, which moves the growing of crops from the over-fertilised, exhausted soil into the air. Indeed, hardwood bark and sawdust are all that is needed to grow the mushrooms in the picture.
By magnifying microscopic processes that are invisible to the human eye, the installation aims to demonstrate the complex interrelationships across scientific disciplines that, despite their invisibility, have a significant impact on the relationship between agricultural land and productivity-focused agricultural practices.
Parallax, Budapest Gallery, 14 February – 13 April 2025. Image: Tamás Juhász G.
Uprooting, Budapest Gallery, 14 February – 13 April 2025. Image: Tamás Juhász G.
Fieldwork Laboratory: The Hybridization of Nature through an Ecology of Images
Moholy-Nagy University of Art and Design
14 – 20 June 2025
Moholy-Nagy University of Art and Design
14 – 20 June 2025
Fieldwork Laboratory is a chaotic image system exploring the paradoxical relationship between ancient ecosystems and the present-history of civilisational control. The work centers on the narrative of human appropriation of nature, and the absurd outcomes of these interactions. I focus on hybrid spaces where civilised human systems confront and attempt to control othered ecosystems, such as agriculture, museology or the exotic pet trade. The work explores the elusive conflict between nature and culture, both through engagement and through a critical reflection on the act of photographing them. The work unfolds in two adjacently separated spaces, a laboratory situation and a research table, interconnected but simultaneously inaccessible. Defying the logic of the exhibition, it is not a display of finished artworks, but a staged image-research situation.
The idea of nature and science, embodies not a particular way of knowledge revealed, but a box of constructed perspectives. The glass wall separating the research file from the laboratory installation functions as a conceptual boundary or barrier evoking distance between visibility and accessibility of knowledge. The viewer sees the same material twice as different interpretations: on the one hand as an ordered publicaton and book-object, and again as a chaotic spatial system, although the two are physically separated and simultaneously seen but physically inaccessible. This reflection and spatial tension undermines the main paradox of the work: the unstable nature of knowledge and the fragmentary nature of observation. In this hybrid space, photography ceases to be evidence and becomes a problem, a question in itself, a constellation of fragments, movements and annotations, a constructed system of nature.
Fieldwork Laboratory: The Hybridization of Nature through an Ecology of Images, Moholy-Nagy University of Art and Design, 14 – 20 June 2025.
Fieldwork Laboratory: The Hybridization of Nature through an Ecology of Images, Moholy-Nagy University of Art and Design, 14 – 20 June 2025.
Fieldwork in the Laboratory
19 April – 4 May 2023
Curated by Noémi Viski
In her solo show, Daniella Grinberg unveils the interconnectedness of things and shows us hidden conflicts between human and non-human entities. Her presented work is part of a large-scale research project which is highly influenced by the theories of the French philosopher and anthropologist, Bruno Latour, including his study 'Laboratory Life' from 1979, which explores the construction of scientific facts, and the actor-network theory which discusses the relationship between human and non-human actors.
The locations of Grinberg's current artistic fieldwork are spaces where human interventions and the wildness of nature can confront in an absurd way. Examples include the mushroom farm, the apiary, the pet shop or the palm house – places where the artist works almost like an anthropologist, collecting field samples, taking notes, and capturing moments as a participating observer. She intentionally creates her notes intuitively, thus countering the myth of objectivity. The visual documentation, essays, and found objects displace us from the human point of view and show us the perspective of non-human actors. By recalling the multi-sensory effects experienced during fieldwork and highlighting the position of non-human actors – in this case, animals, plants, and objects – the exhibition helps us deconstruct our image of the world and reinterpret what "knowledge" means.
The show is a part of the official program of Budapest Photo Festival 2023.
Fieldwork in the Laboratory, K11 Labor, Budapest, 19 April – 4 May 2023. Image: Dániel Gaál.
Fieldwork in the Laboratory, K11 Labor, Budapest, 19 April – 4 May 2023. Image: Dániel Gaál.
Fieldwork in the Laboratory, K11 Labor, Budapest, 19 April – 4 May 2023. Image: Dániel Gaál.
Fieldwork in the Laboratory, K11 Labor, Budapest, 19 April – 4 May 2023. Image: Dániel Gaál.
Fieldwork in the Laboratory, K11 Labor, Budapest, 19 April – 4 May 2023. Image: Dániel Gaál.
Stip(p)visite
11 – 29 August 2024
Curated by Anke Dietrich
Tim Abels, Cosima Geiser, Luise Grahnert, Daniella Grinberg, Anna Kasantseva, Malvine Klawitter, Zuzanna Kłapkowska, Hana Kubrichtová, A. Torne, Ronja Richter, Eliška Štepova, Adéla Tatíčková.
Since 2010, the Summer Academy has been steadily expanding its support for young talent. To date, there have been almost 100 scholarship holders from countries including the Czech Republic, Poland, Iran, Mexico, Ireland, Austria, the USA, Denmark, Chile, Ukraine and Germany.
For the first time, the scholarship holders of the Dresden International Summer Academy of Fine Arts are exhibiting their works in the Adlergasse Gallery - opposite the Motorenhalle - alongside the exhibition of participants.
The environment (Umwelt) takes up living beings as objects, but it is also shaped by them. A living being is always its particular environment. Its limits are not given by its surface (skin), but by its perception, activity, and movements in space and time, writes Uexküll.
Today, the environmental library (Umweltbibliothek) in Dresden functions as an impermanent relic that travels from building to building. I reorganized the archive of the library - the intervention in the order of these books collected in the GDR, I brought together modern handbooks written for different extractive purposes of nature and showed the new arrangements together with Renaissance-era naturalist, Conrad Gesner and his encyclopaedical illustrations of the natural world.
Gesner’s taxonomy and classification of nature both reveal and conceal aspects of knowledge, providing an organized understanding of biodiversity, while still acknowledging interdependencies. The change in function of collecting knowledge as a personal exploration to institutionalized systems like libraries reflects the shifts in collective attitudes about the environment.
Book of Nature, Adlergasse Gallery, Dresden, 11 – 29 August 2024.
Book of Nature, Adlergasse Gallery, Dresden, 11 – 29 August 2024.
Propeller III
12 September – 14 October 2023
Curated by Susanne Gamauf and Johan Nane Simonsen
Jamile Azadfallah, Gáspár Balázs, Anna Gajewszky, Ádám Gara, Daniella Grinberg, Richárd Kiss, Ákos Levente Kondricz, Oskar Ott, Isabella Andrea Pacher, Ophelia Pauline Reuter, Sama Saadatfard, Ezra Šimek
Curated by Susanne Gamauf and Johan Nane Simonsen
Jamile Azadfallah, Gáspár Balázs, Anna Gajewszky, Ádám Gara, Daniella Grinberg, Richárd Kiss, Ákos Levente Kondricz, Oskar Ott, Isabella Andrea Pacher, Ophelia Pauline Reuter, Sama Saadatfard, Ezra Šimek
With PROPELLER I (lat.: propellere “to propel forward”), a biennial exhibition format began in 2019, each of which aims to reflect on current events at Austrian art academies. How do young artists work today in the fields of photography and new media?
The PROPELLER III Biennial 2023 will now be extended to include Hungarian submissions and will be presented at the Austrian Cultural Forum Budapest as well as in Veszprém and Alsóörs in Hungary. The PROPELLER Biennial is programmed for the first time as a cross-border cooperation with the Budapest Photo Festival and the director of the Művészetek Háza, Veszprém and shows young student positions from Austria and Hungary. A dialogue – an exchange of ideas.
The central theme of Daniella Grinberg's work is absence, not knowing, and how this is replaced by history, time and memories. History shapes its own heroes, creating and destroying them by rendering them unviable in the society
they themselves helped to create.
"All we know about my grandfather's life is that he was stationed as a colonel in the Soviet army in Hungary. From the fragments of his life, I reconstruct his youth and thus create a memorial to him. I interpret still moments in the life of young a soldier through the members of a Russian-Soviet reenactment association, referring to the individual losses and coreographies of violence in war."