Nature is the great connector in exhibition ‘Living Mesh’

The exhibition 'Living Mesh – A World Beyond Linnaeus' presents a compelling exploration of nature's interconnectedness, showcasing the work of fifteen contemporary artists. At its heart, the exhibition questions the traditional, often hierarchical and colonial, approach to understanding the natural world. Instead, it champions a perspective where humanity is seen as an inseparable part of nature, rather than a separate entity to be organized or owned. Central to the exhibition's theme is a departure from the rigid categorization exemplified by Carl Linnaeus's 18th-century system of ordering nature. While the exhibition acknowledges Linnaeus's foundational work in modern biology, it moves beyond his systematic approach. This is evident in works like Michelle Piergoelam's photographic series 'Fourteen Leaves and a Cup of Water,' which documents medicinal plants in Suriname and their contemporary cultural significance. Piergoelam's project captures the living relationship between people and plants, moving away from mere botanical classification. In contrast to the precise, isolated depictions of plants found in 18th-century herbarium sheets displayed early in the exhibition, 'Living Mesh' highlights the dynamic interplay between species. Peng Zhang's whimsical drawings and paintings, for instance, depict a harmonious coexistence of animals, humans, and the environment, devoid of hierarchy. This focus on spiritual and systemic connection aligns with recent artistic explorations of nature, but 'Living Mesh' specifically emphasizes a sense of belonging and interdependence, offering a more integrated view of our place within the ecological web.

“

But what if we no longer approach nature as something to be organized, or owned – often created within hierarchical, colonial structures – but as a world of which we are an inseparable part?