For the exhibition the proposed work by the artist would be a result of her recent residency in the Everglades in Florida. The Everglades are a natural region of tropical wetlands in the southern portion of the U.S. state of Florida, comprising the southern half of a large watershed. The history of the area is complex and it encompasses the alluring of the first explorers that disappeared in the area, the intentions to populate it, drain it and produce agriculture within its limits to the conclusion in the 1970’s that its environmental characteristics had to be restored in order for human life in the Florida area to continue, due to the decline of water conditions. The recovery plan of the Everglades is one of the most expensive ecological projects in history and is under the recognition of Unesco. The intricacies of its role in both political and environmental implications are so vast that they include tribes of natives, species of plants and animals in extinction and of course the quality of life of the population of the Florida state.

In her project Emerging from the Swamp Dana Levy re-constructed the site of an early military fort that was swollen by nature. The everglades where thought to be where the holy spirit lies, maybe a garden of Eden in the real world, maybe the fountain of youth, maybe all the richness in the world. The fort that disappeared some 100 years ago was re-discovered in 2014 by amateur historians. It is in this crux between fantasy and reality that Levy´s work is positioned, locating herself as a contemporary explorer of the area that goes back to the past explorers who never returned, portraying their surrounding and recording what the area once looked like. A case of real fiction or fake reality is conveyed; photographs taken from the scenery created by Levy are portrayed as archival material is presented as if real. For the purpose of the display we would need a table with a glass case, the classical way in which archival material is presented.

Hila Amram creates installations that generate fake instances of nature and for the purpose of the project her work “Colony Collapse Disorder” can be a great example on how nature can find chances of growth in extreme situations.

The work touches on a number of different elements that are important to the theme of the exhibition, first the mysterious vanishing of bees that is taking place and the fatal consequences that might have for our ability to produce food, and second the supposed invasion of the bees to the household, as if the bees would conquer the domestic space inverting roles between human being and bee in the usual hierarchies they are played

The work by Shahar Kislev consists of around 30 rock portraits or illustrations created to serve as part of a children’s book that will tell the story of a rock through its existence of thousands of years, from its formation to its erosion to sand towards the creation of new rocks.
Every rock illustration will be installed looking to the center as is the rocks are searching for the viewer that is standing in the middle and the install will be done rather low.
Thus the children that come to the show can take part in the story.
A special activity in which children can learn about the nature of rocks and invent their own story for their character will take place.

Alonso+craciun is an artists collective (Sebastián Alonso and Martin Craciun) from Uruguay that works on projects linking art, architecture, thoughts and social practices.
Their series of videos “Ataranza” (Shipyard) focuses on the Rio de la Plata/ Rio Uruguay, both of the enormous rivers that serve as borders between Uruguay and Argentina.

The video “Julia Lafranconi” shows an island located in a disputed channel in the river where a small “country” was established by a family, the island didn’t have much land but was mostly forged by trees and plants, there Julia Lafranconi (a woman that behaved like a man/sailor) governed the traffic of plants, peoples and merchandise in times between democracy and dictatorship of the early 20th century, ruling mostly by the laws of nature.

The video Tirincón is a contemporary fictitious recount of the same kind of traffic/contraband in the river that became so important during the last round of dictatorships in the area, especially for the rescuing of political prisoners. During those years the small boats that carried contraband guided themselves by the sounds of nature and the terrain to deduce where it was safe to park, land or continue to avoid the military and bring the cargo safely to shore. The video is constructed on an ambiguous mixture of fantasy, reality and landscape.

Eyal Assulin builds machines that imitate organic activities. His works are part sculpture part machine follow the logic of all human creations but take them to the further extreme.
Eyal Assulin builds a machine that is neither woodpecker, neither an oil pump but resembles both by trembling the environment of the gallery and reminding us of the impact that these machines have on the floor we stand on.

In this work, a creature called Bin, that recalls a huge woodpecker or an oil extractor, pecking the pile of wood panels at its feet, so close to it that they form a single unit. Every few minutes, there is a clash between imaginary nature – the woodpecker – and processed nature – the wood panels. The horrifying noise emitted arouses the viewer, literally making the floor tremble.