Following the media interest in the political impact of Gabriella Hirst's artwork 'An English Garden'*, an iteration of her 'How to Make a Bomb' rose project, I would like to offer some reflections on the aesthetics and politics of the work and its withdrawal.
In March/April 2020 the Nuclear Culture Research Group email list discussed some comparisons between the politics and aesthetics of radiation and the Covid-19 pandemic. The following notes draw on some of this discussion, but bring it up-to-date in terms of asymetrical effects.
The NUCLEAR-CULTURE-RESEARCH-GROUP email list is for artists, curators, and academics in the nuclear arts, humanities and sciences, as well as nuclear professionals, to share their research and opportunities around nuclear culture.
Yhonnie Scarce was born in Woomera, South Australia, and belongs to the Kokatha and Nukunu peoples. Working with glass, Scarce explores the political nature and aesthetic qualities of the material – in particular corresponding to the crystallisation of desert sand as a result of British nuclear tests on her homeland during 1956-63.
V&A 1 Feb - 4 November 2020
Laboratory for Variable Risk Perception, Ele Carpenter, 2012 - 2020.
Domestic uranium glassware, radon monitor.
In partnership with Aimee Lax, Ceramics Artist in Residence, V&A South Kensington.
Temporary Index is an artwork by Jon Thomson and Alison Craighead. The work is comprised of an array of counters that mark sites of nuclear waste storage across the world. Each counter marks the time in seconds that remains before these sites of entombed nuclear waste become safe again for humans.